Tag Archives: Irish

Tale of the Selkies

Text:

Selkies are mythical female figures who live as seals in the ocean but transform into gorgeous humans when shedding their seal skin.

One day, a Selkie falls in love with a human fisherman and has a baby with him. After the baby is born, the Selkie steals her seal skin back and swims back to the ocean.

While the above version is the Irish tale—the most commonly known version of the story, there are multiple variations of the story of Selkies.

In the Icelandic version, the Selkies are human women who have suicided and thus become seals in the sea. There is also a much darker version of the story: One day, the Selkie brings her kid (who is also somehow a Selkie) in the form of seals to swim back to the fisherman. However, the fisherman, not knowing they are returning, hunts for seals, who are in fact his wife and kid, and eats them all.

The tale of the Selkies also inspired modern media productions, like the 2014 animation film Song of the Sea.

Context: The interviewee learned this folktale after watching Song of the Sea in 2014 and became curious to find out the original story the film’s plot is based on. She then searched up the Irish version of the story online, while also learning its variations.

Analysis:

Domestic Roles: The Selkie’s story, at its core, reflects the tension between one’s true self and their performance of specific domestic roles, and the cost of choosing one over the other. For example, in the tale, the seal skin is a symbol of the Selkie’s true self, and the ocean symbolizes where she belongs. However, the “human world” is where she performs her domestic roles as the wife of the fisherman and the mother of her child. Selkie’s longing for the sea and stealing her seal skin back becomes a coded articulation of desires for autonomy. However, in this story, choosing one over another (true self vs. domestic roles) has certain costs: choosing to go back to the ocean—to her true self—means leaving her children and family.

Death and Liminality: In the Icelandic Version, where Selkies are suicided women, carries the idea that death is not the termination, but rather a metamorphosis—human women who have suicided continue to exist, just in a different form, apart of the human world.

Tea

Nationality: British
Age: 22
Occupation: Student
Residence: United Kingdom
Language: English

“It’s not my cup of tea.”

My informant mentioned that both parents growing up would use this phrase. Their British mother would use it more than their father, who is Irish. The phrase though has always been in their lives. They would use it to explain that they didn’t like something or that it wasn’t for them.

This proverb is an English idiom that means something is not to you’re liking or preference. The English, in my opinion, use this proverb in a polite way to say that they aren’t enjoying/are not interested in something.

“Níl a fhios agam””

Nationality: American

Occupation: Student

Residence: New York, NY

Text: “Níl a fhios agam” (literal translation: its knowledge is not at me) – Irish Phrase

Context: While studying abroad in Dublin, my sister heard multiple non-Irish speakers say this. The phrase in Irish means “I don’t know”, however when my sister heard it said in Irish it was generally referring to a more abstract unknown, such as questions about the distant future. My sister also found the phrase interesting due to the lack of verbs, which is a feature of the Irish language.

Analysis: The use of the Native Irish language was used to emphasize the point. Saying “I don’t know” in English is not very impactful, and often shuts down a conversation. When the Irish language is used, it does not shut down a conversation; it more often was used to begin exploring what could happen. This is also a way that the Irish language remains alive outside of the classroom, even as English becomes the dominant language in Ireland. Using Irish phrases to have slightly different meanings to their English counterparts keeps the language and culture of Ireland alive.

Southern-Irish Oyster Dressing

Text: 

“One family ritual we had growing up for Thanksgiving was that rather than having cornbread-based dressings [for Thanksgiving], we always had oyster dressing… Oyster dressing would have been a standard addition to our Southern-Irish Thanksgiving dinner growing up.”

Minor Genre: 

Holiday Ritual; Traditional Foods

Context: 

The informant explained in the interview, “My understanding is that [oyster dressing] has roots in my family’s Irish heritage rather than in Southern culture.” The informant grew up in Memphis, Tennessee, in a deep Southern setting, but her family immigrated from Ireland in the 1800s and maintained a strong connection with their Irish roots.

Analysis:

Although the informant believed the oyster dressing was connected to Irish culture, my research indicates that it actually became deeply embedded in Southern cuisine. The recipe was brought to New England from Britain in the 18th century, where it then migrated down the East Coast and took root in the deep South.

I think the most interesting part of this interview from a folkloric perspective is the informant’s belief that their traditional oyster dressing dish originated from Ireland. Although my research indicates the recipe was brought to America from Britain, it is entirely possible that the recipe was brought to the informant’s family from Ireland. The part of the family from Ireland lived in the coastal town of Dungarvan, which is located in one of the counties in Ireland that accounts for the highest production of oysters. Therefore, the informant is not necessarily incorrect in her belief that the recipe originated from Ireland –– though it is also possible that her family adapted the recipe from their Southern environment.

An additional note on oyster dressing is that the informant was specific in saying dressing rather than stuffing. Stuffing and dressing are terms used for the same traditional Thanksgiving dish, but “dressing” is specific to the South, and is the term the informant used before moving to California, where her husband’s family used the term “stuffing.”

Creative Insults

“Take a long walk down a short pier.”

“Go piss up a rope.”

This person grew up hearing his grandmother constantly say these insults to those who inconvenience her. From this, his whole family began to say these to others as well, and even he still says them to this day. Each time he says one, he immediately thinks of his grandmother and her Irish Catholic background. It also emphasizes that she has a strong connection to her Boston background because of the blunt style this language is often associated with.

While these insults can seem harsh, the relationship that this person, and his family, has to them show a strong familial connection and importance in his life. Like most folklore, these insults were passed down essentially as familial tradition as they had an obvious influence in shaping the communication style (insulting) that the family members gradually took up and will most likely continue to use, passing them on to others in their lives. Furthermore, folklore is often seen as having oral traditions, as much of it is told throughout history by word of mouth, being passed down generations and from community to community, just as these insults have done. Additionally, the insults the grandmother uses represents her cultural identity, likely coming from her upbringing and environment living in Boston and being an Irish Catholic. Through these verbal insults, she is able to share this identity and transmit these elements of herself to others, exhibiting common folklore themes of generational sharing, word of mouth, and cultural adaptations. Finally, when I was told about this piece of folklore in this person’s life, I too had heard these insults as I also grew up in Boston, and it brought back many memories that I have with my own friends and family surrounding these phrases!