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Mermaid

A mermaid is a legendary aquatic creature in folklore and mythology, typically depicted as having the head and upper body of a woman and the lower body of a fish.^[1] These beings are often portrayed as possessing supernatural abilities, such as enchanting voices that lure sailors to their doom or prophetic powers that influence human fates.^[2] Mermaid legends span diverse cultures worldwide, embodying themes of beauty, danger, and the mysterious allure of the sea.^[3] The origins of mermaid mythology trace back to ancient Mesopotamian civilizations, with figures like the apkallu sages—fish-human hybrids—from the 3rd millennium BCE, and later Babylonian accounts of Oannes—a civilizing deity emerging from the sea—recorded in the 3rd century BCE.^[2] In Greek mythology, sirens—initially bird-women who sang seductively to shipwreck sailors—evolved into more fish-tailed forms by the medieval period, influencing broader European tales.^[4] Similar entities appear in Mesopotamian (e.g., Kuliltu, or "fish woman"), Slavic (e.g., Rusalki, vengeful water spirits), and Celtic (e.g., Selkies, seal-women who shed skins to become human) traditions, reflecting shared human fascination with the ocean's depths.^[4] These myths often symbolize duality: fertility and protection alongside peril and temptation.^[2] Historically, reported sightings of mermaids were frequently misidentifications of marine mammals like manatees or dugongs, as noted by early explorers such as Christopher Columbus in 1493, who described such creatures off the Caribbean coast.^[1] In medieval Europe, figures like Melusine—a cursed queen who transformed into a serpent-tailed being on certain days—gained prominence in literature and heraldry, representing both nobility and hidden monstrosity.^[4] Over time, mermaid portrayals shifted from predominantly malevolent in ancient and medieval folklore to more benevolent in 19th-century Romantic works, such as Hans Christian Andersen's The Little Mermaid (1837), which emphasized sacrifice and unrequited love.^[2] In modern culture, mermaids continue to captivate through literature, film, and art, often blending traditional elements with contemporary themes of environmentalism and female empowerment, though hoaxes like 19th-century "Fiji mermaids" (composite taxidermy frauds) highlight ongoing skepticism toward their existence.^[5] Their enduring presence underscores humanity's complex relationship with the sea, evoking both wonder and caution.^[2]

Etymology and Terminology

Word Origins

The English word "mermaid" derives from Middle English mermayde, attested around the mid-14th century, a compound of mere ("sea" or "lake," from Old English mere, ultimately from Proto-Germanic *mari, meaning "sea" or "body of water") and mayde or maid ("young woman" or "virgin").^[6]^[7] In Old English, equivalent terms included merewif ("sea-woman" or "water-witch," from mere + wif, meaning "woman," evolving from Proto-West Germanic *mariwīb and Proto-Germanic *mariwíbą, denoting a mermaid or siren) and meremenn (a male counterpart).^[6]^[7] These roots reflect a Germanic linguistic tradition emphasizing aquatic female figures tied to bodies of water.^[8] A specific early example appears in 14th- to 15th-century Middle English adaptations of the Physiologus, a medieval bestiary tradition, where the term mermayde describes a seductive sea creature, as in the line "Soong murier than the mermayde in the see" (singing more sweetly than the mermaid in the sea), blending moral allegory with folklore.^[9] The term's development in early European languages was influenced by classical mythology, particularly the Latin sirena (from Greek seirēn, referring to enchanting sea nymphs who lured sailors to their doom), which shaped related words in Romance languages like French sirène and Italian sirena, both denoting mermaids.^[10] This classical influence contributed to the fish-tailed form and seductive attributes in medieval and early modern European depictions, distinct from the original Germanic sea-woman concept.^[6]

Regional Variants and Cognates

In Scandinavian languages, the primary term for a mermaid is havfrue, as used in Danish and Norwegian, where hav signifies "sea" and frue denotes "wife" or "lady," evoking perceptions of these beings as feminine counterparts or spouses to the ocean, integral to seafaring and domestic maritime lore. Cognates extend across Nordic tongues, including Swedish havfru, Icelandic haf-frú, and Faroese havfrúa, all sharing the compound structure that reinforces a relational, almost familial bond between humans and the sea in cultural narratives.^[11] Slavic terminology features rusalka in Russian and related languages, referring to a female water spirit typically embodying the restless soul of a drowned maiden, which fosters views of mermaids as ethereal, often tragic figures haunting rivers and lakes with ties to untimely death and natural cycles. This term's usage underscores a perception of aquatic entities as spectral guardians or disruptors of watery boundaries in Eastern European traditions.^[12] Beyond Europe, Chinese folklore employs renyu (人魚), literally "human fish," to describe half-human, half-fish creatures documented in ancient texts like the Shan Hai Jing from the fourth century BCE, portraying them as hybrid marvels that blend human form with marine essence, often symbolizing mystery or harmony between land and sea in cosmological beliefs. The term's straightforward composition highlights a cultural emphasis on the literal physical amalgamation rather than anthropomorphic allure.^[13]^[14] In Japanese lore, ningyo (人魚), also translating to "human fish," designates similar aquatic hybrids with a human-like upper body and fish tail, viewed as omens of fortune or calamity whose flesh purportedly confers eternal youth, thus framing these figures as rare, potent symbols of longevity and the supernatural perils of the deep.^[15] Romance languages preserve sirena in Spanish and Italian, sirène in French, and equivalents like Portuguese serena, all stemming from Latin sirena and Greek seirēn, which prioritize the enchanting song as a defining trait, merging siren and mermaid archetypes to cultivate perceptions of seductive, vocal temptresses whose allure poses mortal danger to seafarers. This etymological lineage illustrates a persistent focus on auditory enchantment over physical hybridity in Mediterranean-influenced cultures.^[10]

Ancient Mythological Origins

Greek and Roman Sirens

In Greek mythology, the Sirens first appear prominently in Homer's Odyssey, where they are portrayed as enchanting creatures who inhabit a meadow on a rocky island, surrounded by the bones and decaying remains of sailors they have lured to their deaths.^[16] Although Homer does not explicitly describe their physical form, ancient tradition and scholarly interpretations consistently depict them as bird-bodied women with human heads and voices, capable of beguiling passersby with a sweet, irresistible song that promises knowledge of past and future events, drawing ships to crash upon the shores.^[17] This avian hybrid nature aligns with broader ancient Mediterranean motifs of soul-birds guiding or trapping spirits, emphasizing the Sirens' role as perilous tempters rather than aquatic beings.^[17] Roman adaptations retained the bird-woman form while expanding on the Sirens' origins and attributes. In Ovid's Metamorphoses, the Sirens are described as former handmaidens of Persephone who, grieving her abduction by Pluto, were granted wings and feathers by the gods to aid their search across land and sea, resulting in creatures with human faces, voices, and virgin features atop bird-like bodies with feathered feet and plumes.^[18] This transformation underscores their hybrid peril, blending beauty with monstrosity to enchant and destroy, as echoed in Virgil's Aeneid where they similarly inhabit rocky isles and sing fatal melodies.^[19] Early Roman iconography, such as Attic red-figure vase paintings from the 5th century BCE (e.g., the Siren Painter's stamnos in the British Museum), illustrates them as winged women perched on cliffs, often playing lyres or flutes while Odysseus's ship passes by, reinforcing their classical bird-like depiction without piscine elements.^[20] The shift toward fish-tailed Sirens emerged in late antiquity and early medieval periods, marking a pivotal evolution toward mermaid-like imagery. The earliest textual description of a fish-tailed Siren appears in the 7th- or 8th-century Liber Monstrorum, which portrays her as a deceptive sea creature with a woman's upper body and a fish's lower half, blending classical lore with emerging aquatic motifs.^[21] By the 12th century, this form proliferated in illuminated manuscripts and bestiaries, such as those influenced by the Physiologus, where Sirens are illustrated with piscine tails, sometimes retaining wings or bird feet, symbolizing dual threats from sea and air; examples include marginalia in Anglo-Norman works like Philippe de Thaon's Bestiaire.^[22] This iconographic transition coexisted with bird forms through the 14th century, reflecting a syncretic fusion of Greco-Roman and Christian symbolic traditions.^[22] Medieval Christian reinterpretations further intertwined Sirens with mermaids, recasting them as emblems of carnal lust, vanity, and spiritual temptation to warn against worldly sins. Drawing from the Vulgate Bible's references to Sirens as voices of seduction (e.g., Isaiah 13:21), church fathers like Isidore of Seville in his Etymologiae described them as marine demons luring souls to perdition, often conflating them with fish-tailed hybrids to evoke forbidden desires.^[21] In bestiaries and moral allegories, such as the 12th-century Aberdeen Bestiary, Sirens appear combing their hair or holding mirrors atop scaly tails, embodying female allure as a path to damnation and influencing broader European depictions of mermaids as agents of moral peril.^[23] This symbolic blending persisted in art and literature, transforming the classical bird-women into cautionary aquatic figures aligned with Christian doctrines on temptation.^[22]

Middle Eastern and Near Eastern Figures

In ancient Mesopotamian mythology, the Kulullû represented a class of mythical fish-man hybrids depicted in Assyrian and Babylonian art as early as the 9th century BCE. These beings featured a human upper body emerging from a fish-like lower half or cloaked in fish skin, symbolizing the apkallu, or seven semi-divine sages sent by the god Ea (Enki) to impart wisdom, writing, and civilization to humanity.^[24] Often portrayed in protective roles, such as guarding sacred spaces or performing purification rituals with pinecone-like objects and buckets of water, the Kulullû appeared in monumental reliefs and clay figurines from sites like Nimrud, emphasizing their apotropaic function rather than any seductive attributes.^[25] A prominent Near Eastern figure paralleling mermaid motifs is the Syrian goddess Atargatis, also known as Derketo, whose cult flourished in the region from at least the 3rd century BCE. Depicted as half-woman and half-fish in ancient accounts, Atargatis embodied fertility, abundance, and the generative powers of water, with her worship centered in coastal shrines like those at Ashkelon and Hierapolis, where sacred fish were venerated as her offspring. Her iconography, described by the 1st-century BCE historian Diodorus Siculus as possessing "the face of a woman, and otherwise the entire body of a fish," linked her to sea cults that invoked protection and prosperity, influencing later Mediterranean traditions. Phoenician and Hittite traditions featured water spirits in reliefs that echoed these hybrid forms, often in non-seductive, guardian capacities. In Phoenician art, fish-tailed or aquatic deities associated with fertility and maritime protection appeared in coastal iconography, while Hittite reliefs from sites like Yazılıkaya portrayed water-related hybrids as benevolent overseers of natural forces, distinct from erotic themes. Archaeological evidence from Nimrud, including 8th-century BCE ivories and reliefs, illustrates fish-tailed figures akin to the Kulullû, carved as protective apkallu flanking entrances to palaces and temples, underscoring their role in warding off evil.^[26] These depictions share iconographic links with later Greek sirens, suggesting cultural diffusion across the Near East.^[24]

Other Ancient Parallels

In ancient Indian mythology, the Matsya avatar represents Vishnu's first incarnation as a fish-human hybrid, depicted as a giant fish with human features that rescues the sage Manu from a great flood and recovers the stolen Vedas, symbolizing divine preservation of knowledge and life.^[27] This narrative appears in the Satapatha Brahmana, a Vedic text dating to approximately 700–300 BCE, where the fish guides Manu to safety amid cosmic dissolution, emphasizing themes of renewal and protection. In Egyptian mythology, Hatmehit emerges as a prominent fish-goddess associated with fertility and the Nile's life-giving inundations, often portrayed with a fish head or body to embody abundance in the Delta region.^[28] Worshipped primarily in Mendes from the Old Kingdom onward, her cult gained prominence during the 18th Dynasty (c. 1550–1292 BCE) in the New Kingdom, where she was syncretized with Isis as a nurturing maternal figure linked to aquatic prosperity and royal protection.^[29] Polynesian traditions feature Vatea (also known as Atea), a creator deity in Maori and broader Oceanic lore, depicted as a half-fish primordial being who separates sky from earth to initiate creation, predating European contact and reflecting indigenous seafaring cosmologies.^[30] As grandson of the sea god Tangaroa, Vatea embodies the origins of marine life and human society, with his fish-like form underscoring the vital role of the ocean in Polynesian worldview, transmitted orally through generations before 18th-century arrivals.

Medieval and Early Modern Depictions

Germanic and Northern European Literature

In medieval Germanic epic poetry, mermaid-like figures known as merewîp emerge as prophetic water sprites, blending seduction with foreboding omens. In the Nibelungenlied, composed around 1200, two such beings named Hadeburg and Sigelint encounter the Burgundian hero Hagen while he bathes in the Danube. They foretell the doom awaiting his expedition to the Hunnish court, portraying the merewîp as omniscient enchantresses whose warnings underscore themes of fate and deception in the narrative.^[31] These figures draw briefly from classical siren influences, adapting their alluring yet perilous nature to a Germanic context of heroic tragedy.^[31] The 13th-century saga Rabenschlacht extends this motif by depicting mermaids as rescuers amid chaos, though still tied to prophetic undertones of doom. In the poem, the character Witege, fleeing Dietrich of Bern, gallops into the sea and is saved from drowning by a mermaid, emphasizing her role in preserving heroic lineages during flight and battle. This rescue highlights the mermaid's dual capacity as both savior and harbinger, reflecting broader Germanic traditions where aquatic beings intervene in human conflicts to signal inevitable downfall.^[32] In Old Norse literature, the concept of margygr—translated as sea-troll women or mermaids—portrays these entities as monstrous ogresses dwelling in the ocean depths, often encountered by sailors or kings as portents of peril. The term appears in 13th-century texts like Konungs skuggsjá (King's Mirror), where the margygr is described as a fearsome sea creature with a woman's upper body and a tail, capable of dragging ships under or prophesying storms.^[33] Similarly, in versions of Óláfs saga helga, King Olaf confronts and slays a margygr with a spear, interpreting her as a demonic sea ogress symbolizing pagan threats to Christian rule.^[34] Such depictions in sagas evoke margygr as antagonistic forces, akin to troll-women in tales like Grettis saga, where water-adjacent monsters embody chaos and moral trials for heroes. By the 15th century, Northern European ballads mark a shift toward more benevolent or romantically enchanting mermaids, softening their ominous roles into tales of temptation and longing. The Danish ballad Agnete og Havmanden narrates how a merman woos the maiden Agnete from the shore, luring her to his underwater realm with promises of eternal love and queenship, only for church bells to summon her back to her human family and faith.^[35] This portrayal frames the merman as a seductive enchantress figure—less a harbinger of doom than a symbol of forbidden desire—highlighting cultural tensions between earthly duties and supernatural allure in late medieval folklore.^[36]

Broader European Traditions

The Physiologus, a Christian bestiary originating in Alexandria around the 2nd to 4th centuries CE and widely adapted across Europe by the Middle Ages, depicted sirens as enchanting bird-women who held combs and mirrors, symbolizing vanity and the seductive allure of worldly temptations.^[37] These hybrid figures lured sailors with their sweet songs, leading them to shipwreck and death, an allegory for the perils of succumbing to fleeting pleasures that ensnare the soul.^[37] Over time, European adaptations transformed these bird-like sirens into fish-tailed mermaids, as seen in the 9th-century Bern Physiologus, marking an early shift where the lower body became piscine to emphasize aquatic deception and the drowning of spiritual resolve.^[38] In Byzantine texts, such as the Physiologus Graecus, sirens served as symbols of temptation in Christian allegory, their dual nature—beautiful above water yet monstrous below—representing the perils of worldly sins that lead the soul astray.^[39] This allegorical use persisted in Byzantine-influenced bestiaries, where the creatures' songs represented seductive whispers contrasting with the path of orthodox faith.^[40] By the 16th century, under Ottoman rule, Greek folklore began blending classical sirens with local merfolk traditions, as evidenced in tales of Thessaloniki, Alexander the Great's sister, who transformed into a mermaid-like siren patrolling the seas and interrogating sailors about her brother's fate.^[41] These narratives, rooted in Hellenistic motifs but adapted in Ottoman-era oral traditions, depicted her as a vengeful hybrid who sank ships if Alexander still lived, symbolizing enduring grief and the perilous transition from ancient myth to contemporary peril.^[41] This fusion highlighted the siren's role in bridging pagan allure with Christian moral caution in a multicultural empire.^[41]

Regional Folklore Traditions

British and Irish Folklore

In British and Irish folklore, mermaids are often portrayed as shape-shifting sea beings who inhabit coastal waters and interact with humans in ways that blend enchantment with peril, serving as omens of maritime danger. In Cornwall, these creatures, known as "merrymaids," feature prominently in 19th-century fisher tales collected by folklorists like William Bottrell, where they appear on rocky shores combing their hair and singing, foretelling storms or shipwrecks that endanger vessels. For instance, in Bottrell's 1870 account of the fisherman Lutey, a merrymaid grants him three wishes for saving her life, bestowing healing powers upon him, but ultimately claims him for the sea after nine years, underscoring the transient nature of such alliances. These narratives, rooted in oral traditions from fishing communities, link merrymaids to the treacherous Cornish coastline, where their sightings were interpreted as warnings from the unpredictable ocean.^[42] Irish lore centers on the merrow, a mermaid-like entity derived from the Gaelic muirúch (sea being), depicted as a beautiful woman from the waist up with a fish tail or webbed legs below, often with green hair and a red nose. The merrow's distinctive cohuleen druith—a magical red cap or hood—allows her to transform and travel between sea and land; without it, she is bound to the human world, as seen in tales like "The Lady of Gollerus," where a fisherman steals the cap to wed the merrow, only for her to reclaim it and return to the waves. Collected in Thomas Crofton Croker's 1825 Fairy Legends and Traditions of the South of Ireland, these stories emphasize the merrow's dual existence, with male counterparts (water dogs or storm kelpies) sometimes guarding souls in underwater cages, as in "The Soul Cages." Merrows are generally benevolent yet elusive, fond of music and wine, but their removal from the sea brings inevitable sorrow.^[43]^[44]^[45] In Scottish traditions, particularly from the Hebrides, selkies represent a variant of mermaid lore, portraying seal-women who shed their skins to assume human form on land, overlapping with broader Celtic sea-maiden motifs. Hebridean tales, such as those documented by David Thomson in The People of the Sea (1954), describe selkie wives dancing on shores during midsummer, where a stolen sealskin forces marriage to a human, leading to children with webbed hands as markers of their heritage. These shape-shifters, akin to Irish merrows in their transformative abilities, embody themes of longing and loss, with the selkie invariably reclaiming her skin to rejoin her kin.^[46]^[47] A recurring motif across these traditions involves mermaids granting wishes to compassionate humans—such as healing or prosperity—but imposing curses if captured or wronged, often resulting in barrenness or familial misfortune. In Irish variants, a merrow might curse a family with childlessness after the destruction of her resting rock, as noted in analyses of coastal legends, reflecting the high stakes of interfering with sea folk. Similarly, Cornish merrymaids and Scottish selkies exact revenge through infertility or doom upon those who hoard their magical items, reinforcing folklore's cautionary stance on human hubris toward the marine realm. These elements highlight the beings' role as guardians of natural boundaries, blending allure with admonition.^[45]^[47]

Scandinavian Folklore

In Danish folklore, the havfrue, or mermaid, is frequently depicted as a harbinger of weather changes, with sightings interpreted by sailors as omens of storms or rough seas ahead. These beings were believed to control or predict maritime conditions, reflecting the perils of navigation in Nordic waters.^[48] Norwegian traditions introduce the marmenn, the male equivalent of the havfrue, often portrayed as prophetic figures caught unintentionally by fishermen, who could foretell future events or reveal hidden truths if released unharmed. These mermen form familial bonds with mermaids, establishing underwater households where dynamics involve both harmony and tension, such as abductions of human partners to sustain their lineages. Offspring from such unions, known as marmæler, exhibit hybrid traits blending human and aquatic features, underscoring themes of interspecies kinship in collected tales.^[49] In Icelandic lore, the hafgufa emerges as a deceptive sea monster resembling a vast aspidoceleon or whale-like entity that lures prey by regurgitating enticing substances or gaping its enormous jaws to mimic a safe feeding ground, trapping schools of fish and occasionally ships within. Though distinct from humanoid mermaids, the hafgufa's trap-feeding method parallels the seductive deceptions attributed to Nordic merfolk, symbolizing the treacherous allure of the ocean in medieval accounts like the Konungs skuggsjá. Recent analysis identifies it as an observation of humpback or Bryde's whale behavior, bridging folklore with natural history.^[50] Common characteristics across Scandinavian mermaid lore include the havfrue's habit of combing her flowing locks with a golden comb while perched on coastal rocks, a ritual that enhances her ethereal beauty. She employs enchanting music or songs to draw sailors toward doom, echoing siren-like temptations. Familial narratives often feature half-human progeny, as in Hans Christian Andersen's 1837 tale The Little Mermaid, where the protagonist's longing for legs and love exemplifies the tragic hybrid heritage central to these archetypes.^[51]

Western and Eastern European Folklore

In Western European folklore, particularly in Breton traditions of France, mermaids known as sirènes or Marie-Morgane (meaning "born of the sea") are depicted as enchanting sea-born beings who dwell in underwater palaces and are closely associated with hidden treasures beneath the waves. These figures often appear in coastal legends, such as the tale from Ouessant Island where a Marie-Morgane rewards a patient's fisherman with jewels, gold, and fabrics from the ocean depths, while punishing the impatient with worthless items like horse dung, emphasizing themes of virtue and the perils of greed.^[52] In the legendary submerged city of Ys, the princess Dahut transforms into a siren-like entity after the city's cataclysmic flooding, forever haunting the bay and symbolically guarding its lost riches against intruders.^[53] German folklore features the nixie (or nixe), a female water sprite that evolved from earlier mermaid-like forms into a more versatile river and lake spirit, often luring humans with song or beauty but capable of benevolence or malice. Collected in the Brothers Grimm's Kinder- und Hausmärchen (1812–1857), tales like "The Nixie of the Mill-Pond" portray the nixie as a half-human, half-fish entity who bargains for mortals' firstborn children in exchange for wealth, reflecting a transition from purely seductive sea maidens to inland water guardians tied to mills and ponds.^[54] This evolution highlights the nixie's role in Germanic narratives as a bridge between ancient aquatic myths and localized freshwater lore, where she might aid or drown those who cross her domain. In Portuguese Azorean folklore, the serena (a variant of sereia, or siren) appears in island tales that blend indigenous maritime beliefs with colonial influences from African and New World encounters during Portugal's Age of Discoveries. Stories from Santa Maria Island, such as the "Sereia da Praia," describe a beautiful serena who emerges on moonlit beaches to enchant lonely fishermen, offering companionship but warning against taking her from the sea, where she would perish—echoing hybrid motifs of seduction and prohibition shaped by transatlantic voyages.^[55] These narratives often incorporate elements of exotic sea creatures reported by explorers, portraying the serena as a melancholic guardian of isolated oceanic realms. Eastern European traditions, especially Slavic lore from Ukraine and Poland, center on the rusalka, a vengeful spirit of a drowned maiden who haunts rivers and lakes during spring and summer, embodying themes of untimely death, sexuality, and retribution. According to ethnographic accounts, rusalki are the souls of young women who died by drowning—often due to suicide, accident, or violence—and return to lure unfaithful men or careless wanderers to watery graves with their pale beauty and combing rituals by the shore.^[56] In Ukrainian and Polish variants, they form troupes during Rusalka Week (early June), dancing in fields to ensure fertility while posing dangers to livestock and humans, a duality rooted in pre-Christian agrarian cycles and Christian overlays of sin and punishment.^[56] Unlike more benevolent Western mermaids, the rusalka's tragic origin underscores Slavic folklore's focus on the unrested dead as perilous forces of nature.

Asian Folklore

In East and Southeast Asian folklore, mermaid-like beings often embody themes of transformation, divine intervention, and extended lifespan, distinguishing them from Western sirens through their associations with prophecy, royalty, and medicinal properties. These figures appear in ancient texts as hybrid sea creatures capable of aiding human rulers or conferring immortality through their flesh, reflecting cultural reverence for the ocean as a source of otherworldly power. In Chinese tradition, the renyu (人魚), or "human fish," is described as a fish-tailed entity with human features, first referenced in early geographical and natural history works like the Shan Hai Jing (Classic of Mountains and Seas), dating to at least the fourth century BCE, though elaborated in Tang dynasty (618–907 CE) accounts as elusive sea dwellers inhabiting coastal waters. Tang-era texts portray the renyu as weeping pearls of sorrow, with their flesh believed to possess rejuvenating qualities that could extend life or cure ailments, symbolizing the transformative allure of marine mysteries. These beings were not typically malevolent but served as omens or harbingers of fortune, underscoring themes of longevity tied to harmony with nature. Korean folklore features similar prophetic sea women, notably in the 13th-century Samguk Yusa (Memorabilia of the Three Kingdoms), a collection of legends compiled by the Buddhist monk Iryŏn. One prominent tale recounts Queen Heo Hwang-Ok, a mermaid princess from the mythical underwater kingdom of Naranda, legendarily associated with Ayodhya in India, who transforms into human form by offering her pearl-sewn underskirt to a mountain spirit, enabling her marriage to King Suro of the Garak Kingdom in 48 CE. This union is depicted as divinely ordained, with the queen aiding the king's rule by bearing ten sons who founded noble lineages and promoting cultural exchanges, including the introduction of Buddhism, thus legitimizing the dynasty through her otherworldly intervention. Such narratives emphasize the mermaid's role in prophetic guidance and royal stability, blending Indo-Korean mythic elements. Japanese mythology introduces the ningyo (人魚), a yōkai or supernatural creature with a human upper body and fish tail, often portrayed as grotesque yet potent symbols of eternal life. Folklore holds that consuming ningyo flesh grants immortality or prolonged youth, a belief rooted in medicinal texts and popular tales from the Edo period onward. The legend of Yao Bikuni (八百比丘尼), originating from Wakasa Province, exemplifies this: a young girl accidentally eats ningyo flesh prepared by her fisherman father, halting her aging and allowing her to live for over 800 years as a wandering nun, outliving four husbands before retiring to a temple in her eternal youth. This story, documented in 17th–19th-century compilations like Rokumotsu shinshi, highlights themes of unintended transformation and the burdens of immortality, with ningyo mummies preserved in shrines as talismans against misfortune. In Indonesian, particularly Javanese, folklore, the putri duyung (mermaid princess) manifests in epics and oral traditions linked to royal heritage, most notably through Nyai Roro Kidul, the Queen of the Southern Sea. Depicted in some accounts with a mermaid's tail or serpentine lower body, she is a semi-divine spirit who serves as spiritual consort to Javanese sultans, originating as a cursed princess from the 16th-century Pajajaran Kingdom who transforms after rejection and exile. Javanese epics, such as those in the Serat Centhini (19th century), portray her as protector of coastal realms and ancestor to royal bloodlines, with rulers like Sultan Agung of Mataram (1613–1645) invoking her for legitimacy and prosperity, reinforcing her role in divine kingship and oceanic sovereignty.

African, Arabian, and Oceanic Folklore

In West African folklore, particularly within Yoruba and Vodun traditions, Mami Wata emerges as a hybrid water spirit frequently portrayed as a mermaid with a woman's upper body and a fish or serpentine tail, embodying both allure and danger.^[57] This depiction draws from indigenous beliefs intertwined with colonial-era images, such as 19th-century European lithographs of snake charmers, which devotees adapted to represent her exotic origins.^[57] In Yoruba cosmology, she is closely linked to Olokun, the orisha of the deep sea and wealth, appearing in arts from Benin and Owo-Yoruba regions where she grants economic fortune, fertility, and healing to those who honor her through rituals involving offerings in rivers and oceans.^[57] Vodun practitioners in regions like Ghana, Togo, and Benin revere her as a saltwater divinity within a broader pantheon of water spirits, where her unpredictable nature—capable of bestowing riches or inflicting misfortune—reflects the dual essence of water as life-sustaining and perilous.^[57] Devotees invoke Mami Wata for prosperity, often through trance possessions and mirror-gazing divinations, underscoring her role as a trickster figure who tests human devotion.^[57] Arabian folklore incorporates mermaid-like entities through tales of seductive sea beings, with pre-Islamic lore featuring ghula—female counterparts to ghouls—as shape-shifting demons that lure travelers with illusory beauty, embodying ancestral fears of the unknown.^[58] These entities, part of the jinn pantheon, transform to ensnare the unwary in desolate realms.^[58] This theme persists in the medieval collection One Thousand and One Nights, where mermaid princesses appear as benevolent yet otherworldly figures, such as Djullanar the Sea-girl, a shape-shifting sea princess who marries a human king and bears hybrid children, blending human and aquatic realms in narratives of exile, reunion, and enchantment. In the story, Djullanar uses her powers to summon sea kin and resolve terrestrial conflicts, highlighting mermaids as bridges between worlds, with her fish-tailed form symbolizing hidden depths of loyalty and peril during voyages like those of Sinbad. In Oceanic traditions, particularly Hawaiian folklore, mo'o represent ancestral shape-shifting lizard-women who serve as fierce guardians of sacred waters, including seas, rivers, and ponds, often appearing as beautiful women or massive reptiles to protect natural resources and test human intruders.^[59] These reptilian deities, known as mo'o akua, embody the life-giving and destructive forces of water, with female mo'o frequently depicted as seductive tricksters who can transform to seduce or devour, ensuring the balance of aquatic ecosystems.^[59] In legends, prominent mo'o like Kihawahine guard heiau (temples) and fisheries, demanding kapu (taboos) on overfishing or pollution, while their hybrid forms—human above, lizard below—echo mermaid motifs as symbols of ancestral vigilance and environmental stewardship.^[59] Rituals honoring mo'o involve offerings at waterfalls and coasts, reinforcing their role in Polynesian cosmology as intermediaries between the living and the spirit world.^[59]

Americas Folklore

In the folklore of the Americas, mermaid-like figures emerge from indigenous traditions, often embodying the dangers and allure of waterways, with later colonial influences blending European siren motifs and African water spirit concepts. Among the Tupi-Guarani peoples of Brazil, the Iara (also known as Uiara or "mother of the water") is a central aquatic entity depicted as a beautiful mermaid with long green hair and brown skin, residing in the Amazon River and its tributaries. According to Tupi mythology, she sings enchanting songs to lure fishermen and travelers to their deaths by drowning, transforming disobedient children into her aquatic companions as punishment. This figure serves as a guardian of the waters, warning against the perils of river navigation in the Amazon basin.^[60]^[61] Related to the Iara in earlier Tupi-Guarani lore is the Ipupiara, a vengeful, carnivorous aquatic monster often depicted as a fish-man or sea creature inhabiting coastal and riverine areas of Brazil. Described as a humanoid with fish-like features, the Ipupiara is said to strangle and devour humans it encounters, emerging from the water to drag victims underwater, thus representing the treacherous and punitive aspects of marine environments. Over time, elements of the Ipupiara's lore merged with the more seductive Iara, evolving into a singular mermaid archetype in Brazilian folklore by the 18th century.^[62] In North American indigenous traditions, particularly among the Ojibwe (Anishinaabe) people of the Great Lakes region, the Mishipeshu—often translated as "underwater panther"—functions as a powerful hybrid water spirit akin to mermaid lore through its aquatic dominion and anthropomorphic features. This entity, depicted with the body of a lynx or panther adorned with serpentine tails, fish scales, and horns, rules the underwater realm as a manitou (spiritual power) capable of both benevolence and malevolence, guarding sacred sites like copper deposits and summoning storms to punish intruders. Ojibwe stories emphasize Mishipeshu's opposition to sky spirits like the Thunderbird, symbolizing the eternal tension between upper and lower worlds in water-centric cosmologies.^[63]^[64]^[65] Caribbean Arawak folklore introduces the Orehu (or Ori-yu), a water spirit among the Guiana Arawak peoples that closely resembles a mermaid, appearing as a female figure rising from streams with branches of fruit as offerings. In these tales, the Orehu emerges to interact with humans, sometimes bestowing gifts or knowledge but often luring them into the depths, reflecting a blend of pre-colonial indigenous beliefs with post-colonial African influences such as the Mami Wata tradition, where water mothers embody seduction, fertility, and danger in diaspora communities. This fusion highlights how enslaved African cosmologies, featuring mermaid-like deities, interwove with Arawak motifs during colonial eras in the Caribbean.^[66]^[67]^[68]

Historical Sightings and Accounts

Ancient and Classical Reports

In classical antiquity, reports of mermaid-like creatures were documented by Greek and Roman authors as part of their efforts to catalog the natural world, often drawing from traveler's tales and local folklore presented as factual observations. These accounts typically portrayed such beings as half-human, half-fish entities inhabiting distant seas, blending empirical description with wonder at the unknown. One of the most detailed early references appears in Pliny the Elder's Natural History (completed in 77 CE), an encyclopedic work compiling Roman knowledge of the natural world. In Book 9, Chapter 8, Pliny describes Nereids encountered in the Indian Ocean, stating that "a considerable number of nereids have been found dead upon the sea-shore; they resemble human beings, except that the extremities are fish-like." He attributes this to reports from maritime explorers, positioning the creatures as genuine marine animals rather than mere myths, and notes their discovery along shores where the ocean's vastness concealed many wonders. This passage reflects Pliny's broader approach to exotic fauna, where hearsay from sailors was treated as verifiable evidence of the world's diversity.^[69]

Age of Exploration and Colonial Era

During the Age of Exploration, European voyagers encountered what they perceived as mermaids in the New World, often interpreting marine mammals through the lens of classical mythology. On January 9, 1493, during his second voyage, Christopher Columbus recorded in his ship's journal a sighting of three "sirens" rising from the water off the coast of present-day Haiti, noting that "they were not as beautiful as they are painted."^[70] These observations, likely manatees, echoed ancient reports of similar creatures but were framed within Columbus's expectations of mythical beings from European lore.^[71] In colonial Brazil, Portuguese settlers documented encounters with the "mãe d'água" (mother of the water), a figure blending indigenous Tupi-Guaraní folklore with European mermaid traditions, as early as the 16th century. Accounts from explorers and chroniclers described seductive water spirits luring fishermen to their deaths in rivers and coastal waters, with reports emphasizing the creature's enchanting song and fish-like tail. These narratives, recorded in colonial letters and travelogues, reflected cultural syncretism during Portugal's expansion, where local myths were adapted to fit Iberian tales of sirens.^[72] Seventeenth-century Dutch records from Formosa (modern Taiwan) include sailor logs detailing fish-woman encounters near Fort Zeelandia. Frederick Coyett, the last Dutch governor of the colony (1656–1662), reported in his 1675 memoir that numerous witnesses observed mermaids surfacing in the harbor during the siege by Koxinga, describing them as human-like figures with scaled lower bodies that appeared to aid the Dutch cause. These accounts, preserved in VOC (Dutch East India Company) archives, were likely misidentifications of dugongs or seals but contributed to the exotic allure of the East Indies in European imaginations.^[73] In the 18th century, European missionaries in Qing China and Southeast Asia relayed tales of mermaid-like beings from the Visayas region of the Philippines and the Moluccas islands. Spanish Jesuit reports from the Visayas described "sirenas" as half-human sea dwellers inhabiting coral reefs, with stories of fishermen being bewitched by their melodies, drawn from local oral traditions documented in mission records around 1700–1750. Similarly, in the Moluccas, French-Dutch administrator Louis Renard's 1719 compilation of natural history observations included illustrations and eyewitness accounts of a "monster or siren" caught in local waters, portrayed as a bipedal mermaid with a porcine face, based on reports from indigenous and colonial informants. These missionary narratives, often embedded in evangelization efforts, highlighted regional folklore while serving to catalog the "wonders" of Asian seas for European audiences.^[74]^[75]

Modern and Contemporary Sightings

In the 19th century, particularly during the P.T. Barnum era of public fascination with curiosities, newspapers along the U.S. Gulf Coast published numerous accounts of mermaid sightings reported by sailors, fishermen, and coastal residents. These reports described ethereal figures with the upper body of a woman and the lower body of a fish emerging from the waters near Louisiana and Texas, often at dusk or during storms, echoing earlier colonial precedents of sea creature encounters during exploration voyages. Such narratives, fueled by the era's sensationalism, appeared in regional publications and contributed to widespread belief in aquatic humanoids inhabiting the Gulf's warm currents.^[76] Throughout the 20th century, Canadian Inuit communities preserved oral accounts of the qalupalik, a mermaid-like entity from Arctic folklore that parallels global mermaid traditions but with a distinctly menacing character. Described in stories passed down by elders in regions like Nunavut and the Northwest Territories, the qalupalik is portrayed as a green-skinned, humanoid creature with long hair, fins, and claws, dwelling beneath sea ice and emitting humming or knocking sounds to lure disobedient children into the water for abduction. These accounts, documented in ethnographic recordings and traditional storytelling collections from the mid-1900s onward, served as moral lessons to keep youth away from dangerous frozen shores, blending cautionary wisdom with vivid depictions of the creature's scaly, fish-tailed form.^[77]^[78] In the 21st century, viral videos of alleged mermaid sightings gained traction, notably in Kiryat Yam, Israel, where from 2009 onward, dozens of locals and tourists reported observing a mermaid-like figure at sunset along the Mediterranean coast. Eyewitnesses claimed the creature, resembling a young girl crossed with a fish, performed acrobatic flips and dives before vanishing into the waves, with footage from 2012 and 2013 capturing shadowy movements on rocks that spread rapidly online. In response, the Kiryat Yam municipal council offered a $1 million reward to the first person providing photographic proof, highlighting the phenomenon's cultural impact before further scrutiny.^[79]^[80]^[81] Recent oceanographic expeditions in the 2020s have occasionally led to misidentifications of deep-sea organisms as mermaids, underscoring ongoing human intrigue with the ocean's unknowns. For instance, in 2023, a bizarre globster—a mass of unidentified organic material—washed ashore in Papua New Guinea, its elongated, humanoid-torso-like shape prompting initial comparisons to a mermaid among local observers and online communities before experts attributed it to decayed marine debris or a composite of sea life. Similarly, submersible footage from deep-sea surveys in the Pacific has captured bioluminescent or elongated creatures that, in low-light conditions, evoke mermaid silhouettes, though subsequent analysis reveals them as rare cephalopods or gelatinous plankton. These incidents, reported during routine scientific dives, illustrate how advanced exploration tools can amplify perceptual errors rooted in folklore.^[82]

Hoaxes, Exhibitions, and Skepticism

Fabricated Specimens and Shows

In the 18th and 19th centuries, Japanese artisans created fabricated "ningyo" or "human-fish" specimens, which were taxidermied hoaxes combining desiccated parts of monkeys, rays, and fish to mimic mummified mermaids. These artifacts were displayed in curiosity cabinets and temples, often promoted with folklore claims of granting longevity or protection from disease, drawing from legends of ningyo as prophetic sea creatures.^[83] One such specimen, acquired in Japan around the early 19th century, was exported to the United States via the Boston Museum and became the basis for Western hoaxes.^[84] The most notorious example emerged in 1842 when showman P.T. Barnum leased this Japanese ningyo and rebranded it as the "Feejee Mermaid" for exhibition at his American Museum in New York City. Barnum promoted the three-foot-tall figure—a monkey's torso grafted to a fish's tail—with sensational pamphlets, fake scientific endorsements, and advertisements depicting a full-bodied siren, despite its grotesque, shriveled appearance that only vaguely suggested a mermaid from certain angles.^[84] The hoax drew massive crowds, with Barnum reporting thousands of visitors daily, and toured to Charleston, where it sparked debates over authenticity among locals.^[85] Barnum's tactics, including hiring an associate to pose as a naturalist and leaking stories to newspapers, amplified its fame and exemplified 19th-century showmanship.^[86] During the Victorian era, similar fabricated mermaid specimens circulated in European and American circuses and dime museums as part of freak shows, capitalizing on public fascination with exotic oddities. These exhibitions often featured taxidermied composites like the Feejee Mermaid replicas or other monkey-fish hybrids, presented alongside live "freak" performers to evoke wonder and scientific curiosity in audiences across London, Paris, and U.S. cities like Philadelphia.^[87] Showmen such as Barnum and his contemporaries integrated mermaids into broader spectacles, using dim lighting and exaggerated narratives to obscure their artificial nature and attract working-class and middle-class viewers seeking entertainment and edification. In the 20th century, following renewed interest from adaptations like Disney's The Little Mermaid, some aquariums and marine parks introduced themed mermaid exhibits and performances, blending mythical elements with educational entertainment and often incorporating conservation messages.

Scientific Explanations and Debunking

Many historical accounts of mermaid sightings by sailors can be attributed to misidentifications of marine mammals such as manatees, dugongs, and seals, which share superficial resemblances to the mythical half-human, half-fish creatures described in folklore. For instance, Christopher Columbus recorded in 1493 what he believed to be mermaids off the coast of what is now the Dominican Republic, but these were likely manatees, whose rounded bodies and flippers could appear humanoid from a distance, especially in choppy waters. The order Sirenia, encompassing manatees and dugongs, derives its name from this mythological association, reflecting how their slow, graceful swimming and occasional upright postures fueled such errors during long voyages when visibility was poor. Seals, with their sleek forms and expressive faces, have similarly been mistaken for mermaids in colder waters, as noted in various seafaring logs from the Age of Exploration. Psychological phenomena like pareidolia, where the human brain interprets random patterns as familiar shapes such as faces or figures, combined with optical illusions from sea conditions, further explain many reported sightings. In foggy or hazy maritime environments, distant marine animals or wave formations could distort into hybrid human-animal apparitions, exacerbated by sailors' fatigue, isolation, and expectation of mythical beings. Superior mirages, such as the Fata Morgana effect caused by temperature inversions bending light over water, have been documented to create elongated, floating images of ships or animals that resemble ethereal figures, contributing to perceptions of mermaids in historical narratives. From an anthropological perspective, mermaid myths often serve as metaphors for the blurred boundaries between humans and animals, reflecting cultural anxieties about evolution, identity, and the natural world. In Victorian-era discourse, influenced by Darwinian theory, mermaids were interpreted as potential "missing links" or transitional forms between aquatic and terrestrial life, symbolizing the shared ancestry of species and challenging rigid human exceptionalism. Scholars like Gillian Beer have argued that these hybrid figures embody ontological dilemmas, probing the limits of humanity amid emerging scientific understandings of biology and adaptation. Modern cryptozoological claims, such as those in the 2013 Animal Planet documentary "Mermaids: The Body Found" and its 2014 sequel "Mermaids: The New Evidence," have been thoroughly debunked as fictional entertainment rather than evidence of real creatures. The programs, presented in a mockumentary style with fabricated footage and pseudoscientific narration, relied on actors and unsubstantiated "evidence" like doctored audio recordings, leading to public confusion despite end-of-show disclaimers labeling them as science fiction. Marine biologists have critiqued their portrayal of an "aquatic ape" hypothesis as outdated and unsupported, emphasizing that no empirical data from oceanographic surveys supports the existence of mermaid-like species. Some contemporary "sightings" echo historical hoaxes, such as fabricated specimens displayed in sideshows, which were later exposed as stitched-together animal parts.

Cultural and Symbolic Interpretations

Omens, Prophecies, and Wisdom

In various folklore traditions, mermaids serve as symbolic harbingers, embodying omens of natural forces, fertility, and deeper insights into fate and human endeavors. These aquatic beings often appear at pivotal moments, their sightings interpreted as divine signals or prophetic warnings that guide or caution communities reliant on the sea. Such motifs underscore the mermaid's role as a bridge between the human world and the mysterious depths, where knowledge of impending events is both revealed and concealed. In Scandinavian folklore, the havfrue, or sea wife, is a prominent figure associated with storm predictions. Fishermen report sightings of the havfrue emerging on calm summer waters under a thin mist, combing her long golden hair with a golden comb as a prelude to gales. This act signals turbulent weather and ill success in fishing, prompting sailors to heed the omen and seek shelter to avoid disaster. The havfrue's appearance thus functions as a natural prophecy, blending beauty with peril to preserve maritime safety.^[88] Irish merrow sightings carry connotations of fertility omens, particularly for those dependent on the sea's bounty. In certain tales, encountering a merrow—often a beautiful female with a magical cohuleen druith cap—is viewed as a harbinger of good fortune, foretelling abundant catches and prosperous fishing seasons. These positive interpretations contrast with more ominous variants, highlighting the merrow's dual capacity to bless or curse based on human respect for her domain, thereby encouraging harmonious relations with the ocean's rhythms.^[45] Chinese folklore features the renyu, or human-fish, in historical tales where these beings assume prophetic roles, occasionally advising rulers on matters of state and destiny. Depicted as ethereal figures capable of weaving prophecies from the sea's secrets, the renyu emerges in narratives to counsel emperors, offering wisdom on governance, natural calamities, or imperial longevity drawn from ancient aquatic lore. Such interactions portray the renyu as a mediator of cosmic balance, their guidance pivotal in tales emphasizing moral leadership and foresight.^[13] Mermaids also embody wisdom motifs as guardians of lost knowledge in medieval parables and legends. Often reluctant to share their submerged secrets—such as the properties of enchanted waters, hidden treasures, or forgotten arts—these beings withhold profound insights from humanity, testing the seeker's worthiness. In motif classifications like ML 4060 from folk-literature indices, mermaids possess arcane lore from their underwater realms but surrender it only under duress or benevolence, symbolizing the perilous pursuit of forbidden wisdom in moral tales. This archetype reinforces themes of humility and the limits of human ambition against nature's enigmas.

Psychological and Anthropological Views

In Jungian psychology, mermaids embody the anima archetype, serving as a symbolic bridge to the collective unconscious and representing the instinctive, transformative feminine principle within the male psyche. Carl Gustav Jung described such figures as "an even more instinctive version of a magical feminine being," linking them to the sea as a metaphor for the depths of the unconscious, where they act as psychopomps guiding individuation and integration of repressed elements.^[89] This interpretation draws from alchemical traditions, where mermaid-like entities such as Melusine symbolize Mercurius, a volatile force of psychic renewal and the maternal underworld.^[90] Feminist analyses of the 20th century often portray mermaids as emblems of female repression and the asymmetrical power dynamics in patriarchy, particularly through the lens of childcare and gender roles. Dorothy Dinnerstein's seminal 1976 book The Mermaid and the Minotaur uses the mermaid to illustrate how women's exclusive early nurturing of infants fosters male dominance and a collective exploitation of nature, perpetuating mutual antagonism between sexes and limiting female autonomy.^[91] Similarly, interpretations of Hans Christian Andersen's The Little Mermaid view the protagonist's transformation and sacrifice as metaphors for women's subjugation under patriarchal norms, symbolizing castration anxiety and the erasure of female agency in favor of male desires.^[92] These readings highlight mermaids' dual role in critiquing societal constraints while hinting at potential emancipation through shared parental responsibilities. Anthropologically, mermaid myths trace their origins to ancient Mesopotamia around 1000 BCE, with the Assyrian goddess Atargatis depicted as a half-fish, half-woman fertility deity, and spread across cultures via Phoenician and maritime trade routes to the Mediterranean and Europe. These hybrid figures, initially tied to water cults and protection of fishermen, evolved into the seductive Greek sirens—winged or fish-tailed lurers of sailors—reflecting adaptations through cultural exchange along ancient sea paths.^[93] By the medieval period, the motif had diffused further into European folklore, incorporating Christian moral warnings against temptation, as evidenced in accounts from Anglo-Saxon and Celtic traditions influenced by earlier Near Eastern narratives.^[93] In 21st-century scholarship, mermaids have emerged as potent symbols of environmental urgency, particularly in post-2010 climate narratives that frame them as guardians against ocean degradation and advocates for conservation. Campaigns like "Mermaid's Tears," referencing plastic pollution as microplastics washing ashore, and "Mermaid's Warning" on sea level rise and acidification, leverage mermaid imagery to foster emotional connections to marine ecosystems. This symbolism aligns with ecofeminist perspectives, portraying mermaids as refugees or revolutionaries in polluted seas, thereby amplifying calls for reef restoration and anti-pollution activism in coastal communities.^[94]

Representations in Arts and Media

Literature and Visual Arts

In literature, mermaids have been depicted as enchanting yet tragic figures, most notably in Hans Christian Andersen's 1837 fairy tale "The Little Mermaid," originally published in Danish as "Den lille Havfrue" in the collection Eventyr fortalt for Børn by C.A. Reitzel in Copenhagen.^[95] The narrative follows a young mermaid who, driven by love for a human prince, trades her voice to a sea witch for legs, enduring excruciating pain with each step on land; ultimately rejected, she dissolves into sea foam but ascends as an ethereal air spirit, symbolizing themes of sacrifice, unrequited love, and spiritual redemption.^[96] This tragic transformation contrasts sharply with later adaptations, emphasizing the mermaid's agency and the futility of her quest for an immortal soul, as mermaids in Andersen's world lack such unless earned through human love.^[96] In visual arts, mermaids appeared prominently in Renaissance heraldry as symbols of eloquence, beauty, and maritime prowess, particularly in Scottish and Dutch emblems. The Murray clan's crest, dating to medieval origins but formalized in the Renaissance, features a mermaid holding a mirror and comb, representing the ancient princedom of Strathearn and evoking the siren's alluring song as a metaphor for persuasive speech.^[97] Similarly, in Dutch heraldry during the Renaissance, mermaids symbolized protection over waterways and trade routes, as seen in municipal arms like those of Zierikzee, where the figure embodied the perils and allure of the sea in the Low Countries' burgeoning naval era.^[98] Pre-Raphaelite artists in the mid-19th century reimagined mermaids as seductive sirens blending human vulnerability with mythical danger, exemplified by Dante Gabriel Rossetti's works from the 1860s onward. In his 1869 sonnet and subsequent 1877 oil painting A Sea-Spell, Rossetti portrays a contemplative siren strumming a lyre amid apple blossoms and a seagull, evoking sensory enchantment and the fatal lure of the sea, influenced by his patron Frederick Leyland's maritime interests.^[99] Earlier crayon drawings, such as the 1860s Siren depicting a nude sea-maiden, further highlight Rossetti's fascination with these hybrid beings as embodiments of poetic reverie and peril.^[100] Twentieth-century illustrations brought a whimsical, ethereal quality to mermaid depictions, particularly through Arthur Rackham's contributions to Andersen's tales in the 1932 edition of Fairy Tales of Hans Christian Andersen. Rackham's ink and watercolor illustrations, such as the scene of the little mermaid ascending to the daughters of the air, portray her with delicate, flowing tails and luminous expressions, capturing a dreamlike melancholy that underscores the story's poignant transformation.^[101] These works, known for their intricate line work and subtle color washes, influenced subsequent book art by emphasizing mermaids' otherworldly grace over overt sensuality.^[101]

Film, Music, and Popular Culture

Disney's animated feature The Little Mermaid (1989), directed by Ron Clements and John Musker, centers on Ariel, a young mermaid princess who trades her voice for legs to pursue a romance with a human prince, establishing her as an enduring global icon of curiosity and empowerment. The film marked the beginning of the Disney Renaissance, grossing $211 million worldwide on a $40 million budget and pioneering computer-assisted animation techniques that blended hand-drawn characters with digital backgrounds. Its success extended far beyond theaters, fueling a merchandising empire that included dolls, clothing, and toys generating billions in revenue over decades, alongside spin-offs like a Broadway musical and television series.^[102]^[103]^[104] A live-action remake, directed by Rob Marshall and released in 2023, stars Halle Bailey as Ariel alongside Jonah Hauer-King as Prince Eric. The film reimagines the story with emphasis on diversity, empowerment, and environmental undertones, grossing $569.6 million worldwide against a $250 million budget. It received praise for Bailey's performance and visual effects, while sparking discussions on representation in media.^[105] Contrasting the whimsical fantasy of Ariel's tale, the Japanese direct-to-video film Guinea Pig 5: Mermaid in a Manhole (1988), directed by Hideshi Hino, delivers visceral body horror through its narrative of a depressed artist who discovers a mermaid trapped in a polluted sewer manhole. As the creature suffers from festering sores and rapid decomposition due to exposure to toxic air, the artist compassionately cares for her while using her oozing bodily fluids as paint for his artwork, culminating in graphic dismemberment and decay effects that emphasize themes of beauty, decay, and artistic obsession. This entry in the infamous Guinea Pig series, known for its extreme gore and realistic special effects, stands out for transforming the mermaid myth into a nightmarish cautionary tale about environmental ruin and human exploitation.^[106]^[107] Television brought mermaids into teen-oriented storytelling with the Australian series H2O: Just Add Water (2006–2010), created by Jonathan M. Shiff, which follows three high school girls—Cleo Sertori, Rikki Chadwick, and Emma Gilbert—who gain mermaid tails and hydrokinetic powers after a magical encounter on Mako Island. The show blends drama, romance, and light adventure as the protagonists navigate secrecy, peer pressures, and threats from those seeking to expose or exploit their abilities, such as turning water into ice, boiling it, or shaping it at will. Airing for three seasons with 78 episodes, it emphasized female empowerment and friendship amid everyday adolescent challenges, spawning international popularity and a sequel series, Mako Mermaids.^[108]^[109] Mermaids have also surfaced in 20th- and 21st-century music, often symbolizing elusive beauty and oceanic mystery. Enya's ethereal single "Orinoco Flow" (1988), the lead track from her breakthrough album Watermark, lyrically charts a sailor's voyage across real and imagined seas—from the Orinoco River to distant isles—evoking the mythical allure of mermaid-guided explorations through layered vocals and sweeping synths that mimic tidal flows. In contemporary pop, Katy Perry's "E.T." (2011) from Teenage Dream explores inter-dimensional romance with sci-fi imagery of transformation and forbidden desire, paralleling mermaid lore's theme of crossing human-aquatic boundaries, as reflected in Perry's frequent mermaid-inspired performances and visuals in her career.^[110]^[111]

Heraldry and Modern Symbolism

In civic heraldry, the mermaid serves as an enduring emblem of protection and resilience, most notably on the coat of arms of Warsaw, Poland, where depictions date back to the 14th century as a symbol of the city's guardian spirit.^[112] The figure, known as Syrenka, typically portrays an armed mermaid wielding a sword and shield, reflecting local legends of her defending the settlement from invaders.^[113] This heraldic use has persisted through centuries, evolving into the modern official design adopted in 1938 but rooted in medieval seals.^[114] Mermaids also feature prominently in nautical symbolism, particularly among sailors as tattoos denoting the perils and allure of the sea. During World War II, U.S. Navy personnel commonly inked mermaid designs, with estimates indicating that over 65% of sailors had tattoos, including these mythical figures to invoke luck or commemorate voyages.^[115] Such motifs, often stylized with the mermaid holding a mirror or comb, drew from maritime folklore and became a rite of passage, symbolizing fidelity to the ocean's call amid wartime deployments.^[116] In modern branding, the mermaid motif has been adapted into commercial icons, exemplified by the Starbucks logo introduced in 1971, which depicts a stylized two-tailed siren—a classical mermaid variant—chosen to evoke seafaring adventure and the allure of exotic coffee origins.^[117] Drawn from a 16th-century Norse woodcut, the design underscores themes of temptation and discovery, aligning with the company's name derived from Herman Melville's Moby-Dick.^[118] Contemporary environmental symbolism harnesses the mermaid as an advocate for ocean health, notably through the annual Mermaid Parade in Coney Island, New York, which in the 2020s has integrated messages on conservation, such as anti-plastic pollution campaigns during its 2024 edition.^[119] Organized by Coney Island USA since 1983, the event draws thousands in aquatic costumes to celebrate marine mythology while raising awareness for issues like ocean pollution and biodiversity preservation.^[120]

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Mermaids in Chinese fairy tales - Chinaculture.org
Aug 7, 2018 · Shan Hai Jing, an ancient Chinese text from at least the fourth century BC contains the earliest reference to a mermaid, calling the creature ...Missing: etymology | Show results with:etymology
[15]
Ren yu, Rén yú, Rén yù, Rén yǔ: 4 definitions
Sep 1, 2025 · 人魚t = 人鱼s = rén yú p refers to “mermaid/dugong/sea cow/manatee/giant salamander”.
[16]
“Ningyo”: Japanese Merfolk and Auspicious Mummies | Nippon.com
May 18, 2022 · Japanese records over the centuries include various sightings of ningyo (merfolk) and stories connected to them. Artisans even created mummies of the creatures.
[17]
HOMER, ODYSSEY BOOK 12 - Theoi Classical Texts Library
### Summary of Sirens in Homer's Odyssey Book 12
[18]
Sirens of Greek Myth Were Bird-Women, Not Mermaids | Audubon
Apr 6, 2018 · Today, the Siren is just another word for mermaid, and is likely to remain so. But there's something richly thematic about the Sirens of ...
[19]
OVID, METAMORPHOSES 5 - Theoi Classical Texts Library
### Summary of Sirens in Ovid's Metamorphoses Book 5
[20]
SIRENS (Seirenes) - Half-Bird Women of Greek Mythology
THE SEIRENES (Sirens) were three monstrous sea-nymphs who lured sailors to their death with a bewitching song. They were formerly handmaidens of the goddess ...Encyclopedia · Sirens Poetic Miscellany · Cult Of The Sirens
[21]
stamnos | British Museum
Object: The Siren Vase. Description: Pottery: red-figured stamnos. (a) The ship of Odysseus passing the Sirens. The sea is represented by a narrow space in ...
[22]
[PDF] From Bird-Woman to Mermaid: The Shifting Image of the Medieval ...
May 7, 2019 · For medieval Christians, sirens were heavily associated with female sin. In the Vulgate translation, the Bible itself refers to sirens ...Missing: reinterpretation lust<|separator|>
[23]
The sirens in ancient mythology weren't the seductresses of today
Jul 22, 2025 · In modern popular culture, sirens are alluring creatures of the sea, most commonly women, often sporting shimmering mermaid tails. But their ...
[24]
The Enchantress of the Medieval Bestiary - Getty Iris
May 11, 2018 · The bestiary was a compendium of real and imaginary beasts from the Middle Ages in which each animal acted as a vehicle for Christian teaching.Missing: mermayde english
[25]
[PDF] I. Introduction. Mesopotamian semi
Akkadian term for a sage, apkallu, can also mean a type of priest or exorcist. According to a Sumerian temple hymn, the seven sages came from Eridu, the first ...
[26]
Apkallū (Seven Sages) - Livius.org
Sep 16, 2020 · The gods sent the Apkallū, the seven sages, as teachers. These creatures came to the human world from the sea.Missing: Kulullû hybrid 9th century BCE
[27]
Apkallu figure: male with a fish-skin hood - Assyrian
This small baked clay figurine takes the form of a male figure with long hair and beard, staring straight ahead with large, wide-open eyes beneath arched ...
[28]
Avatars of Vishnu - MANAS - UCLA
Vishnu is first said to have come down in the form of a fish (matsya), which saved the Vedas from being consumed by the asuras (demons), followed by a tortoise ...Missing: Rigveda | Show results with:Rigveda
[29]
Hatmehit - The Global Egyptian Museum
Goddess whose name means 'Foremost of the fish'. She was the goddess of the sixteenth Lower Egyptian nome and was worshipped in Mendes in the Delta.
[30]
Hatmehyt - Ancient Egypt Online
Hatmehyt (or Hatmehit) was a fish-goddess worshipped in the Delta area of Ancient Egypt, particularly in Mendes (Per-banebdjedet or place of Banebdjed).
[31]
(PDF) The God Tinirau in the Polynesian Art - ResearchGate
Aug 9, 2025 · In this article, data concerning the all-Polynesian fish god Tinirau are collected. Tinirau was a chief or at least son of a chief.
[32]
Humanity's Oldest Cave Art Shows Shape-Shifting Supernatural ...
Dec 11, 2019 · Researchers have discovered humanity's oldest cave art. The paintings depict a hunting scene with what may be part-animal, part-human ...
[33]
the Sound of the Siren's Song in Medieval Germanic Literature
This paper examines the origins and implications of both the figure of the water nixie in medieval Germanic literature, and the names given to the figure.
[34]
[PDF] epistemology and the poetics of listening - Georgetown University
Apr 18, 2012 · the water sprites in the Nibelungenlied (merewîp) in Anglo-Saxon (mere-wīf) indicate a commonality, and from this perspective the figure ...
[35]
the heroic age - Project Gutenberg
Note should be taken however of an incident in the Rabenschlacht (v. 964 ff.), where Witege in his flight from Dietrich gallops into the sea and is rescued by ...<|separator|>
[36]
The hafstramb and margygr of the King's Mirror: An analysis
Aug 6, 2025 · They include the hafstramb and the margygr, commonly translated respectively as merman and mermaid. The mermaid has a long history in western ...
[37]
https://bestiary.ca/beasts/beast246.htm
[38]
The merfolk of the Danish traditional ballad - Academia.edu
Agnete's narrative serves as a parable about temptation, culminating in her return to familial and Christian values after rejecting the merman's seduction. ".
[39]
[PDF] "The Forsaken Merman" and "The Neckan": Another Look - eGrove
Oct 12, 2020 · Danish poet Oehlenschläger's adaptation of the ballad “Agnete og. Havmanden” in which the merman promises Agnete: Thou shalt be queen of my ...
[40]
Beasts : Siren - Medieval Bestiary
Feb 1, 2025 · Later sources say that the siren is fish from the waist down, like a mermaid. They usually have wings. In some cases sirens are described as ...
[41]
Early Medieval Transformations of the Siren - Imc
... evolved into the term “mermaid.” The Bern Physiologus perfectly exemplifies this early-medieval ambiguity: it contains the first depiction of a fishtailed siren ...
[42]
DE SIRENIBUS, An Inquiry into Sirens from Homer to Shakespere
The Sea of Heresy and Lust. St. Jakob in Kastellaz csouth Tyrol ... For, despite its condemnation of the Physiologus as a heretical book, later ...<|separator|>
[43]
[PDF] The iconographical diversity of the Sirens' physical forms in ...
In medieval bestiaries, Sirens appear as bird-woman, fish-woman, or fish-bird-woman, with the first having a bird bottom, the second a fish tail, and the third ...
[44]
(PDF) The Consolation of Beatrice and Dante's Dream of the Siren ...
The Consolation of Beatrice and Dante's Dream of the Siren as Vilification Cure (draft) ... Roman de la Rose; Guillaume de Lorris and Jean de Meun, Le roman de la ...
[45]
[PDF] Aspects of the Late-Modern Subject in the Narcissus Theme 1890 ...
Roman de la Rose, where the story is used as a warning example for those who ... 119 Merello, « De Narcisse à la sirène », p. 219. Page 33. 33 grasp the ...
[46]
History of Mermaids and Their Origins in Ancient Greek Sirens
Jul 24, 2025 · By the Hellenistic period, Greek depictions of Sirens more clearly resembled the current image of mermaids, as beautiful, fish-tailed women; yet ...
[47]
(PDF) Curses, Vengeance, and Fishtails: The Cornish Mermaid in ...
The mermaid folklore from Cornwall is diverse and exhibits several stories that fit in with Northern European Migratory Legends cataloged in Scandinavia and ...Missing: merrymaid shipwrecks
[48]
Cohuleen druith - Oxford Reference
[cf. Ir. cochall, hood]. In Irish folklore, a magical hood or cap worn by mermaids (or merrows) in order to survive under the waves.
[49]
[PDF] Fairy legends and traditions of the south of Ireland /
The Irish word Merrow, correctly written Morbadh, or Morbach, answers exactly to the English mermaid, and is the compound of muir, the sea, and oigh, a maid ...
[50]
[PDF] The Motif of the Mermaid in English, Irish, and Scottish Fairy
This corresponds with the above mentioned benevolent mermaid type. In this case the benevolent act originates from a desperate situation on account of the ...
[51]
(PDF) Encountering Eco-Folklore: The Shifting Tides of Scotland's ...
This qualitative study explores how contemporary selkie tales have adapted to reflect changing perceptions of the human-nature interface within Scottish ...
[52]
[PDF] Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie ...
Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some mermaid and selkie ...
[53]
Folklore - Mermaids and Mermen and the North Sea - Thyra
Jul 13, 2011 · If a mermaid showed in front of a ship, she was the cause of alarm. The sailors considered this as an omen of bad weather. Women did not ...
[54]
Svané and Rosmer the Merman - Of Mermaids & Myrmidons
May 1, 2018 · Svané, a mortal woman, was kidnapped by merman Rosmer. She escaped by tricking him into taking her brother and gold, then hiding in the chest.
[55]
Terrifying sea monster 'hafgufa' described in medieval Norse ...
Feb 28, 2023 · According to the researchers, medieval mariners probably knew that the hafgufa was a type of whale and not a fantastical sea monster. "Norse ...
[56]
Mysterious Mermaids #folklore - Ronel the Mythmaker
Mar 10, 2022 · Greek mermaids can, however, change their form at will. Usually benevolent, merfolk in Greek folklore can become malevolent and unpredictable.
[57]
Les sirènes de Bretagne - La Sorcière Graphique 56 - Marion Perrin
May 26, 2021 · En Bretagne, elles sont appelées Marie Morgane (ou Morgans), ce qui signifie Mor = Mer et Ganet = Né. Elles sont donc nées de la mer et vivent ...
[58]
Legends & Romances of Brittany, by Lewis Spence
Although the folk-tales and legends of Brittany have received ample attention from native scholars and collectors, they have not as yet been presented in a ...Missing: Morgane | Show results with:Morgane
[59]
Grimm 181: The Nixie in the Pond
The nixie descended into the water again, and consoled and in good spirits he hurried back to his mill. He had not yet arrived there when the maid came out of ...Missing: German evolution
[60]
Legend of the Sereia da Praia, a dream story on the island of Santa ...
Dec 13, 2019 · A long time ago, at the beginning of Santa Maria Island's settlement, a young fisherman cheated his isolation with walks by the sea, on full moon nights.Missing: colonial | Show results with:colonial
[61]
[PDF] Rusalki: Anthropology of time, death, and sexuality in Slavic folklore*
According to the popular folk beliefs, rusalki are unhappy souls of prematurely or tragically deceased maidens and women who reside in rivers, brooks, and ...
[62]
[PDF] Mami Wata
Others believe Mami represents a vast “school” of female and male water spirits (mami watas and papi watas), while still others see her as the source of all ...
[63]
Ghoul | Definition, Mythology, & Meaning - Britannica
In ancient Arabic folklore, ghūls belonged to a diabolical class of jinn (spirits) and were said to be the offspring of Iblīs, the prince of darkness in Islam.Missing: sea | Show results with:sea
[64]
Ka Po'e Mo'o Akua: Hawaiian Reptilian Water Deities - UH Press
In stockKa Po'e Mo'o Akua: Hawaiian Reptilian Water Deities explores the fearsome and fascinating creatures known as mo'o that embody the life-giving and death-dealing ...
[65]
Brazil: Iara | USC Digital Folklore Archives
May 7, 2018 · I think it originated from Tupi mythology. The word Iara literally means “lady of the lake” and the myth tells the story of a beautiful mermaid ...
[66]
Water and Mythology: Water Deities and Creation - Academia.edu
ref South America Tupi-Guarani (Brazilian Myth) • Amanasy, Goddess of the rain and frogs • Iara, Guardian of the water and of the Amazon River • Ipupiara ...
[67]
[PDF] Dicionario Do Folclore Brasileiro
Oct 27, 2025 · Brazilian mythology based on Tupi and Guaraní mythology. The Iara may have developed from the lore of the carnivorous fish-man Ipupiara.
[68]
[PDF] Co-Managing Gichi Onigaming – “The Great Carrying Place” - GovInfo
Nov 8, 2016 · intentional working, the effigy is suggestive of Mishipeshu, the water panther. In Ojibwe mythology, Mishipeshu is the great water spirit of ...
[69]
[PDF] Great Lakes Navigation and Navigational Aids - NPS History
The Anishinaabeg (Ojibwe) constellation. Gaadidnaway represented Mishipeshu, the great, malevolent spirit panther with serpentine features that dwelled at ...
[70]
Marx for Cats - Duke University Press
Many Algonquin nations, including the Ojibwe, believed in the power of the Mishipeshu, a mythical underwater panther whose disposition ranged from protective ...
[71]
CHAPTER XII THE SPIRITS OF THE WATER | Sacred Texts Archive
* The Water Spirits, whether anthropomorphic or zoomorphic, are known as Ori-yu or Orehu (Arawak) ... mermaid, or "watery mamma" as they translate it (ScC ...
[72]
[PDF] THE ANIMISM AND FOLKLORE OF THE GUIANA INDIANS
Water Spirit withdrew. When he was gone, the father exclaimed,. “As Ho-aránni ... kuyuha (people's spirit) mermaid, or “watery mamma” as they translate ...
[73]
Mami Wata: Arts for Water Spirits in Africa and Its Diasporas
May 18, 2025 · In addition to their influence in Africa and its diasporas, Mami Wata and other African and African Atlantic water spirits have gained an even ...<|control11|><|separator|>
[74]
Pliny the Elder, Natural History : English translation - ATTALUS
Pliny the Elder, who died during the eruption of Vesuvius in 79 A.D., wrote a long account in 37 books of everything that the Romans knew about the world around ...
[75]
Herodotus on the edges of the earth - Livius.org
Jul 14, 2020 · According to Herodotus - and all ancient people - the edges of the earth were the parts of the world where fabulous creatures and savage barbarians lived.
[76]
Ptolemaeus, Geography (II-VI) - ToposText
... inhabited regions in the continents themselves, first writing in the coast that is most northern, then the western, and the seas and the islands that are ...Missing: mermaid | Show results with:mermaid
[77]
Columbus reports on his first voyage, 1493
He left thirty-nine men to build a settlement called La Navidad in present-day Haiti. He also kidnapped several Native Americans (between ten and twenty-five) ...Missing: sirens | Show results with:sirens
[78]
The mermaids who sailed the Atlantic - Práticas da História
Jun 1, 2020 · This article systematizes and analyzes the image of the mermaid as a recipient of cult, folk character and historical element in the relations between Portugal ...Missing: century reports mãe água
[79]
https://abcnews.go.com/Travel/story?id=8310324&page=1
[80]
The Merfolk of Philippine Folklore - The Aswang Project
Jun 17, 2018 · The word merfolk means 'people of the sea'. There are numerous Philippine legends about merfolk, but their local names are few.
[81]
The Beautiful Monster: Mermaids - Biodiversity Heritage Library
Oct 31, 2014 · By the Common Era, mermen and mermaids had made their way into the accepted zoological canon. Pliny the Elder, who lived in the first century CE ...
[82]
Mermaid legends popular in Gulf Coast town - Examiner-Enterprise
Feb 10, 2021 · In Rockport, where the mermaid legend is strong, most stores carry books about what mermaids are like and how to capture one.
[83]
Inuit Traditional Stories | The Canadian Encyclopedia
Feb 7, 2006 · Inuit Traditional Stories are a repository of Inuit culture, passed down by Elders through generations to enrich and enlighten.Missing: century | Show results with:century
[84]
[PDF] Traditional Inuit Myths and Legends - Inhabit Media
This exhaustive story collection makes the rich tradition of Inuit storytelling accessible to the rest of Canada. From creation myths to animal fables, ...
[85]
Photograph Israeli Mermaid, Win $1 Million - ABC News
Aug 12, 2009 · Local officials are now offering a cash prize of $1 million for the first tourist to take a photograph of the mermaid.
[86]
Is a Mermaid Living Under the Sea in Northern Israel? - Haaretz Com
Aug 12, 2009 · August 12, 2009. Some residents of Kiryat Yam are convinced the city is home to a mermaid, and the town's local council is offering $1 ...Missing: 2012 | Show results with:2012
[87]
Mermaid Sightings Claimed in Israel - Live Science
Oct 14, 2022 · An alleged mermaid, said to resemble a cross between a fish and a young girl, only appears at sunset. It performs a few tricks for onlookers before ...
[88]
Identity of mysterious 'mermaid globster' that washed up in Papua ...
and experts baffled.
[89]
https://www.shimajournal.org/issues/v12n2/g.-Inkol-Shima-v12n2.pdf
[90]
FeeJee Mermaid Exhibit - The Lost Museum
The “FeJee Mermaid” was originally brought to the American Museum in 1842 “at a most extraordinary expense” for the evaluation of a “discerning public.”
[91]
https://www.dissentmagazine.org/article/reconsidering-mermaid-minotaur-dorothy-dinnerstein-parenting-feminist-psychology/
[92]
Barnum on the FeJee Mermaid, The Life of P. T. ... - The Lost Museum
Barnum describes how he used an employee posing as a scientist and the credulity of the popular press to perpetrate the FeJee Mermaid hoax.
[93]
Introduction: Toward Situating the Victorian Freak - Project MUSE
Nearly every critic writing on freaks has echoed this sentiment, pointing to the Victorian era as central in the estab- lishment of freak shows and in the ...
[94]
The Fairy Mythology by Thomas Keightley - Project Gutenberg
The Fairy Mythology, illustrative of the romance and superstition of various countries; by Thomas Keightley, author of the Mythology of Ancient Greece and ...
[95]
[PDF] Melusine Machine: The Metal Mermaids of Jung, Deleuze and Guattari
In Jung's theories, the anima is a formative archetype of the unconscious, alongside the ego, the shadow and the self. The anima (for men) and animus (for women) ...
[96]
[PDF] The Archetypes And Collective Unconscious
... anima. She can also be a siren, melusina (mermaid),-® wood-nymph, Grace, or Erlking s daugh- ter, or a lamia or succubus, who infatuates young men and sucks.
[97]
Mommy Issues: Reconsidering The Mermaid and the Minotaur
Dinnerstein's analysis of male-female antagonism is razor sharp yet astoundingly uncomplaining. She wants to show how women and men are limited, divided ...
[98]
(PDF) The Little Mermaid: An icon of woman's condition in patriarchy ...
Aug 5, 2025 · Hans Christian Andersen's story 'The Little Mermaid' is read as a creation myth and a metaphor for woman's condition in patriarchy.
[99]
Hybridity: the historical hybridity of mermaids
The mermaid is a hybrid beast, diverse in the specifics of her hybridity but always hybrid. Mermaids began in ancient Babylonia and moved across the globe ...
[100]
Mermaids in Marine Folklore: How Ancient Tales Shape Ocean ...
In modern times, mermaids have evolved into powerful symbols of ocean conservation and environmental protection, representing humanity's complex relationship ...
[101]
[PDF] Siren: An Allegory for the Anthropocene and Example of the ...
6 A concern for climate change connects these stories. Mermaids are figured as environmental refugees fleeing the polluted ocean7 or revolutionaries organizing.
[102]
The Little Mermaid | Folk and Fairy Tales - Pook Press
The original tale follows a similar storyline to many of the adaptations we know and love today: a young mermaid longs to leave the gloomy depths of the ocean ...<|separator|>
[103]
A Summary and Analysis of Hans Christian Andersen's 'The Little ...
Apr 9, 2020 · The little mermaid asks her grandmother about humans. She learns that humans don't live as long as mermen (who can live for up to three hundred ...
[104]
Murray Crest & Coats of Arms - ScotClans
30-day returnsThe Murray clan crest is a mermaid holding a mirror and comb. Coats of arms are personal, not family, and include Murray of Tallibardine and Murrays of ...Missing: Dutch | Show results with:Dutch
[105]
Category:Mermaids in heraldry - Wikimedia Commons
Oct 2, 2025 · Media in category "Mermaids in heraldry". The following 101 files are in this category, out of 101 total. Sirene-f1-neutre.
[106]
A Sea-Spell | Harvard Art Museums
A Sea-Spell was painted for Rossetti's patron Frederick Leyland, a ship magnate who owned a large number of paintings by the artist. Rossetti first planned ...Missing: mermaids | Show results with:mermaids
[107]
Dante Gabriel Rossetti, An Illustrated Memorial of His Art and Life
In 1860 Rossetti and Miss Siddal carried out their long projected plans of ... Siren , a crayon drawing of a naked sea-maiden (afterwards, I believe ...
[108]
Rackham's Little Mermaid - SurLaLune Fairy Tales
The Little Mermaid by Arthur Rackham. Below are illustrations by Arthur Rackham for The Little Mermaid. Click on the image to view a larger version.
[109]
The Little Mermaid (1989) - Box Office and Financial Information
The Little Mermaid (1989) ; Opening Weekend: $6,031,914 (5.4% of total gross) ; Legs: 11.37 (domestic box office/biggest weekend) ; Theater counts: 994 opening ...
[110]
Disney's 'The Little Mermaid' 30 years ago changed animation ...
Nov 17, 2019 · Disney's 'The Little Mermaid' 30 years ago changed animation, musicals and princesses. Today's multi-billion-dollar cultural juggernauts of ...
[111]
DISNEY'S THE LITTLE MERMAID [1989] - Spindleworks
Jun 7, 2023 · The home video release, along with box office and merchandise sales ... THE LITTLE MERMAID” generating a total revenue of $1 billion. This ...
[112]
Guinea Pig 5: Mermaid in the Manhole (Video 1988) - IMDb
Rating 5.5/10 (2,716) An artist rescues a mermaid in a sewer, who develops bleeding sores all over her body. He paints a portrait with what oozes from her body, and eventually ...1 of 13 · 4 of 13 · Release info · User reviews
[113]
Mermaid in the Manhole, The - Midnight Eye
Mar 20, 2001 · The Mermaid in the Manhole is a perverted fairy tale, but one which exists to celebrate the spiritual connections that can exist between two people.<|separator|>
[114]
H2O: Just Add Water (TV Series 2006–2010) - IMDb
Rating 7.3/10 (20,757) The plot of the show revolves around three teenage girls that get turned into mermaids.Also how they deal with everyday situations with there new found ...Full cast & crew · H2O · H2O: Meninas Sereias · Episode list
[115]
Nostalgic Lookback: H2O: Just Add Water (2006-2010) - The Edge
Aug 1, 2024 · It was about three teenage girls who turn into mermaids whenever they touch water. As you can imagine, this makes for a very challenging life.
[116]
Enya - Orinoco Flow (Official 4K Music Video) - YouTube
Oct 26, 2009 · 'Orinoco Flow' is the lead single from Enya's 1988 studio album, 'Watermark'. This official 4K music video features the studio recording of ...Missing: mermaid connection
[117]
Former 'Walking Dead' Star Emily Kinney Debuts 'Mermaid Song'
Oct 26, 2017 · Singer-songwriter and actress ("The Walking Dead") Emily Kinney adds to her music resume with new song "Mermaid Song."
[118]
Mermaid of Warsaw - Atlas Obscura
Feb 13, 2019 · This is no coincidence, as the fish-tailed mythological creature has been seen on the Varsavian coat of arms from as early as the 14th century.
[119]
7 Cool Depictions of the Warsaw Mermaid | Article - Culture.pl
The mermaid is a mythological creature which is the symbol of the city of Warsaw. Here, we won't go into the various legends about how she emerged from the ...
[120]
Symbols - City of Warsaw
The coat of arms of the City of Warsaw is an image of a mermaid designed by Szczęsny Kwarta, which has been in use since 1938. The coat of arms is used by ...
[121]
Navy Tattoo Culture - Submarine Force Library & Museum Association
Sep 10, 2018 · ... tattoos and mermaids became common. According to statistics, 65% of WWII sailors had tattoos, the highest of any of the military branches.
[122]
Sailors' Tattoos - Naval History and Heritage Command
Dec 4, 2024 · Sailors' tattoos include anchors (crossing the Atlantic), braided rope (deck seaman), Chinese dragons (luck), compass roses (finding way back), ...
[123]
The Story of the Siren | Starbucks Archive
Terry scoured old marine books until an illustration caught his eye – it depicted a siren, a seductive twin-tailed mermaid from Greek mythology who enticed ...
[124]
The Evolution of Our Logo | Starbucks Archive
1971. The Starbucks Siren makes her first appearance. 1987. The Starbucks logo gets a modern twist and turns Il Giornale green.
[125]
In pictures: Coney Island mermaids - June 24, 2024 | Reuters
Jun 24, 2024 · People raising awareness about plastic ocean pollution dance while participating in the Mermaid Parade during a heatwave in Coney Island ...Missing: environmental | Show results with:environmental
[126]
The Mermaid Parade — Coney Island USA
Jun 21, 2025 · The Mermaid Parade is the nation's largest art parade, and one of New York City's greatest summer events, created and produced by Coney ...Mermaid Parade Royalty · Mermaid Parade Registration · Mermaid Parade WinnersMissing: 2020s | Show results with:2020s