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A gold ring from Roman Britain with a thief's name engraved on it. A pub chair that killed everyone who sat in it. A purple stone locked away in seven boxes. And a cheap print of a crying child that, in 1985, half of Britain was afraid to keep at home.

For this Halloween special, I'm telling four short stories about cursed objects. First the legends, the way their believers tell them. Then a quick look at what's really behind each one: a Roman curse tablet that still exists, a chair that turned out to be 140 years too young, a horror writer who may have staged his own curse, and a tabloid panic that ended in a bonfire.

Four objects, four storytellers. And the question I keep coming back to on this channel: who tells a story, and why?

Sleep well… Yours, Cris

Sources

• R. G. Collingwood, "Inscriptions" (1932), in R. E. M. and T. V. Wheeler, Report on the Excavation of the Prehistoric, Roman and Post-Roman Site in Lydney Park, Gloucestershire. Publishes the Silvianus curse tablet and the faint "rediviva" addition.
• J. R. R. Tolkien, "The Name 'Nodens'" (1932), appendix to the same Lydney report. Tolkien's study of the god's name, the link between Lydney and Middle-earth.
• Francis Haverfield, "Further remarks on the Ring of Senicianus" (1888–89), Transactions of the Bristol & Gloucestershire Archaeological Society. An early warning against linking ring and tablet on the strength of a name alone.
• Chaloner W. Chute, A History of The Vyne in Hampshire (1888). The family history that first set the ring and the curse side by side.
• William Grainge, The Vale of Mowbray (1859). Local history recording the 1702 murder of Daniel Auty by Thomas Busby.
• Stuart Minting, "18th Century murderer's chair continues to captivate supernatural fans", The Northern Echo (2014). Reports the furniture historian's dating of the chair to around 1840.
• Natural History Museum, London, behind-the-scenes blog on the cursed amethyst. Full text of Heron-Allen's 1904 letter and the curators' view that the curse was likely invented.
• Christopher Blayre (Edward Heron-Allen), "The Purple Sapphire" (1921). The short story the curse may have been staged to promote.
• Massimo Polidoro, "Curse That Painting!", Skeptical Inquirer (2012). Overview of the Crying Boy panic of 1985.
• Punt PI, BBC Radio 4, Series 3, Episode 4 (2010). Steve Punt's fire tests on original Crying Boy prints.
• David Clarke on the Crying Boy curse, Squaring the Strange podcast, episode 141. On the late origin of the Don Bonillo legend.

#GreyTales #CursedObjects #Halloween #Folklore #HauntedObjects

Hansel and Gretel were really two adult bakers who murdered a rival in the Spessart forest in 1647 to steal her gingerbread recipe. That's what a 1963 book claimed, and half of Germany believed it. The catch: it was a satire by the cartoonist Hans Traxler. In episode 4 of my Grimm series, I look at invented origins: from the Baker Witch to the Snow White of Lohr, which started as an April Fool's joke among tavern regulars and now appears on highway signs, to the question of why one region of Hesse calls itself Little Red Riding Hood Country. And why fairy tales so badly need a home address.

📚 Sources and Further Reading

Vanessa Joosen: Critical and Creative Perspectives on Fairy Tales: An Intertextual Dialogue between Fairy-Tale Scholarship and Postmodern Retellings. Detroit: Wayne State University Press, 2011. → Includes an analysis of Traxler's book as a "fictive nonfictional text."

Donald Haase (ed.): The Reception of Grimms' Fairy Tales: Responses, Reactions, Revisions. Detroit: Wayne State University Press, 1993. → Discusses the reception of Traxler's hoax among other responses to the Grimms.

Tim Harford: "The Truth About Hansel and Gretel." Cautionary Tales podcast, October 2021. → An English-language podcast episode on Traxler's satire.

Christine Shojaei Kawan: "Innovation, Persistence and Self-Correction: The Case of Snow White." Estudos de Literatura Oral 11–12 (2005–2006), pp. 237–252. → On the international tradition of Snow White and attempts to localize it.

Hans Traxler: Die Wahrheit über Hänsel und Gretel. Frankfurt am Main: Bärmeier & Nikel, 1963 (new edition Stuttgart: Reclam, 2007). → The satire itself; the new edition includes an appendix on its origins and reception. (German)

Wolfgang Vorwerk: "Das 'Lohrer Schneewittchen'. Zur Fabulologie eines Märchens." In: Christian Grandl / Kevin J. McKenna (eds.): Bis dat, qui cito dat. Festschrift for Wolfgang Mieder. Frankfurt am Main: Peter Lang, 2015, pp. 491–503. → The detailed origin story of Snow White of Lohr, by a member of the Lohr circle. Available online via the town of Lohr. (German)

Bernhard Lauer: "Wem gehört 'Schneewittchen'?" Hessische Blätter für Volks- und Kulturforschung 44 (2009), pp. 390–425. → A folklorist's view of the places that claim Snow White. (German)

Eckhard Sander: Schneewittchen. Märchen oder Wahrheit? Gudensberg-Gleichen: Wartberg, 1994. → The Margaretha von Waldeck and Bergfreiheit thesis. (German)

Hans Moser: "Vom Folklorismus in unserer Zeit." Zeitschrift für Volkskunde 58 (1962). → The essay that introduced the concept of folklorism. (German)

In the Grimms' version, a huntsman saves Little Red Riding Hood. In Perrault's, she's eaten. But in a peasant tale from Burgundy, recorded in the 1880s, the girl eats her own grandmother's flesh, undresses in front of a werewolf, and in the end saves herself. In episode 3 of our Grimm series, we dig for the dark roots of Little Red Riding Hood: from a Latin schoolbook written around 1023, through the Paris salons of Charles Perrault, to a study that analyzes fairy tales with the tools of evolutionary biology. And we ask whether that ancient oral tradition ever really existed, or whether it's a fairy tale itself.

📚 Sources and Further Reading

Jamshid J. Tehrani: "The Phylogeny of Little Red Riding Hood." PLOS ONE 8/11 (2013), e78871. → The family-tree study of Little Red Riding Hood and related tales. Open access.

Jan M. Ziolkowski: "A Fairy Tale from before Fairy Tales: Egbert of Liège's 'De puella a lupellis seruata' and the Medieval Background of 'Little Red Riding Hood'." Speculum 67/3 (1992). → The key study of Egbert's girl among the wolves.

Ruth B. Bottigheimer: Fairy Tales: A New History. Albany: State University of New York Press, 2009. → The counter-thesis of a book-based history of fairy tales.

Journal of American Folklore 123, no. 490 (2010). → Responses to Bottigheimer by Dan Ben-Amos, Francisco Vaz da Silva and Jan M. Ziolkowski.

Alan Dundes (ed.): Little Red Riding Hood: A Casebook. Madison: University of Wisconsin Press, 1989. → A collection of key texts and interpretations, including an English translation of the Story of Grandmother.

Paul Delarue / Marie-Louise Tenèze: Le Conte populaire français. Vol. 1, Paris 1957, further volumes to 1985. → The great catalogue of French folk tales in which Delarue published the Story of Grandmother. (French)

Yvonne Verdier: "Grands-mères, si vous saviez… Le Petit Chaperon rouge dans la tradition orale." Cahiers de Littérature orale 4 (1978). → The ethnological reading of the needles and pins. (French; full text available via the BnF)

Yvonne Verdier: Façons de dire, façons de faire. La laveuse, la couturière, la cuisinière. Paris: Gallimard, 1979. → The village study from Minot on which her reading is based. (French)

Charles Perrault: Histoires ou contes du temps passé. Paris, 1697. → Perrault's original, with its verse moral. Public domain, widely available online and in translation.

Nothing added, nothing embellished: that's what the Brothers Grimm promised in the preface to their fairy tales. At the same time, they rewrote their book again and again over nearly half a century and seven editions. In episode 2 of our Grimm series, we lay the versions side by side: how Rapunzel's pregnancy disappeared, how Snow White's mother became a stepmother, why Rumpelstiltskin ends three different ways, and why Cinderella's sisters only lost their eyes in 1819. Plus the big debate: were the Grimms preservers, editors or forgers?

📚 Sources and Further Reading

Maria Tatar: The Hard Facts of the Grimms' Fairy Tales. Princeton: Princeton University Press, 1987 (expanded 2nd edition 2003). → On how violence increased across the editions while sexuality was erased. A very readable entry point.

Ruth B. Bottigheimer: Grimms' Bad Girls and Bold Boys: The Moral and Social Vision of the Tales. New Haven: Yale University Press, 1987. → A quantitative analysis of punishment, speech and silence among female and male characters.

John M. Ellis: One Fairy Story Too Many: The Brothers Grimm and Their Tales. Chicago: University of Chicago Press, 1983. → The controversial argument that the Grimms deliberately misrepresented their sources.

Jack Zipes: "Mountains out of Mole Hills, a Fairy Tale." Children's Literature 13 (1985), pp. 215–219. → A critical response to Ellis.

Jack Zipes (trans.): The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition. Princeton: Princeton University Press, 2014. → The 1812/1815 texts in English, including the tales later dropped, so you can compare them with the familiar versions yourself.

D. L. Ashliman: Rumpelstilzchen von den Brüdern Grimm – a comparison of the 1810, 1812 and 1819 versions. University of Pittsburgh (online). Ashliman's site also offers English translations of several Grimm tales in multiple versions. → The three versions side by side, sentence by sentence. (German texts)

Heinz Rölleke (ed.): Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812. Cologny-Genève: Fondation Martin Bodmer, 1975. → The basis for any comparison between the manuscript and the first printed edition. (German)

Heinz Rölleke: Die Märchen der Brüder Grimm. Eine Einführung. Stuttgart: Reclam, 2004. → Overview of the editing style, the stylistic ideal and the relationship between Jacob and Wilhelm. (German)

Lothar Bluhm / Heinz Rölleke: "Redensarten des Volks, auf die ich immer horche." Märchen – Sprichwort – Redensart. Stuttgart/Leipzig: Hirzel, 1997 (expanded new edition, Trier: WVT, 2020). → The key study of Wilhelm's insertion of idioms and proverbs. (German)

Lothar Bluhm: Märchen als Literatur aus Literatur. Die "Kinder- und Hausmärchen" der Brüder Grimm. Berlin: Metzler, 2023. → Reads the collection as the product of a deliberate literary design. (German)

Hans-Jörg Uther: Handbuch zu den Kinder- und Hausmärchen der Brüder Grimm. Berlin: de Gruyter, 2008. → Standard reference on the versions of every single tale. (German)

Little Red Riding Hood, Sleeping Beauty, Snow White: ancient German folk tales, passed down by old peasant women at the spinning wheel? Not quite. In the first episode of our five-part Grimm series, we ask who actually told the Brothers Grimm their fairy tales. We follow a manuscript that traveled through a Trappist monastery in Alsace all the way to Geneva, watch Heinz Rölleke bury a star witness who never existed, and look behind the most famous portrait in German fairy-tale history.

📚 Sources and Further Reading

Heinz Rölleke (ed.): Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812. Cologny-Genève: Fondation Martin Bodmer, 1975. → The standard edition of the Ölenberg manuscript, setting the 1810 manuscript beside the 1812 first edition. Replaced the older Lefftz edition.

Heinz Rölleke: "Die 'stockhessischen' Märchen der 'Alten Marie'. Das Ende eines Mythos um die frühesten KHM-Aufzeichnungen der Brüder Grimm." Germanisch-Romanische Monatsschrift N.F. 25 (1975), pp. 74–86. → The article that dismantled the "Old Marie" attribution and identified Marie Hassenpflug as the contributor. (German)

Heinz Rölleke: Die Märchen der Brüder Grimm. Eine Einführung. Stuttgart: Reclam, 2004. → Concise overview of how the collection came about, who contributed and how the texts were edited. (German)

Joseph Lefftz (ed.): Märchen der Brüder Grimm. Urfassung nach der Originalhandschrift der Abtei Ölenberg im Elsaß. Heidelberg: Winter, 1927. → The first complete edition of the Ölenberg manuscript. Superseded by Rölleke 1975, but important for the history of research. (German)

Holger Ehrhardt (ed.): Dorothea Viehmann. Kassel: Euregio, 2012. → Collected volume on Viehmann's life and tales, with contributions by Heinz Rölleke and others, including an essay on French influences in her stories. (German)

Holger Ehrhardt: "Ein übersehenes Märchen von Dorothea Viehmann." Fabula 64 (2023), no. 3–4, pp. 243–281. → Argues that "The White Bride and the Black Bride" goes back to Viehmann, based on newly found early manuscripts. (German)

University of Kassel: press release on the discovery of 54 previously unknown early Grimm manuscripts, December 2023. → Background on the new manuscript finds. (German)

Hans-Jörg Uther: Handbuch zu den Kinder- und Hausmärchen der Brüder Grimm. Berlin: de Gruyter, 2008. → Standard reference on every tale in the collection, its sources and versions. (German)

For English-language readers: Jack Zipes' translation of the 1812/1815 first edition, "The Original Folk and Fairy Tales of the Brothers Grimm" (Princeton University Press, 2014), includes the tales later removed, such as Bluebeard and Puss in Boots.

The Ölenberg manuscript can be viewed in digitized form at e-codices, the Virtual Manuscript Library of Switzerland.

Last week we told the old stories. Today we ask who wrote them.

The leprechaun probably isn't named after his "little body" at all, but after Roman priests whom Irish monks took for a race of wolf-men. His oldest story is a teaching tale about the law of distraint. In the nineteenth century he wore red, not green. The book that made him famous was lost by its editor and rewritten by his friends, and then translated by the Brothers Grimm. And when Walt Disney was offered Ireland's greatest folklore archive, he chose an American children's book instead.

Sources

— Jacopo Bisagni, "Leprechaun: a new etymology", Cambrian Medieval Celtic Studies 64 (2012), pp. 47–84. The core source for this episode. Shows that the oldest manuscript form is lupracán, argues that the "little body" reading is linguistically very hard to sustain, and derives the word from the Luperci, whom Irish scholars, via Augustine, understood as a race of shapeshifters. Also contains the critique of Binchy's eighth-century dating of the Fergus saga.

— D. A. Binchy, "The Saga of Fergus mac Léti", Ériu 16 (1952), pp. 33–48. The standard edition of the Fergus saga; source of the traditional etymology and dating.

— Neil McLeod, "Fergus mac Léti and the Law", Ériu 61 (2011), pp. 1–28. Shows that the Fergus saga was constructed as a legal teaching tale on distraint.

— Simon Rodway, "Mermaids, Leprechauns, and Fomorians: A Middle Irish Account of the Descendants of Cain", Cambrian Medieval Celtic Studies 59 (2010), pp. 1–17. Edition of the tale of Ambia the siren and Becnait, mother of the leprechauns.

— Diarmuid Ó Giolláin, "An Leipreachán san Ainmníocht", Béaloideas 50 (1982), pp. 126–150, and "The Leipreachán and Fairies, Dwarfs and the Household Familiar: A Comparative Study", Béaloideas 52 (1984), pp. 75–150. The foundational folkloristic study, based on more than three hundred manuscripts from the Irish folklore archives; places the leprechaun with dwarfs and household spirits rather than the fairy host.

— Maureen Murphy, "Croker, Thomas Crofton", Dictionary of Irish Biography. Source for the lost manuscript, the co-authors, the edition history and the later criticism.

— Thomas Keightley, The Fairy Mythology (later edition). Contains Keightley's admission that he invented The Soul Cages from a legend collected by the Brothers Grimm.

— Jacob and Wilhelm Grimm (trans.), Irische Elfenmärchen, Leipzig 1826. Translation of Croker's collection with the introduction "Über die Elfen".

— Frank Kinahan, "Armchair Folklore: Yeats and the Textual Sources of Fairy and Folk Tales of the Irish Peasantry", Proceedings of the Royal Irish Academy 83C (1983), pp. 255–267. Traces Yeats's fairy classification back through McAnally to O'Hanlon.

— Tony Tracy, "When Disney Met Delargy: 'Darby O'Gill' and the Irish Folklore Commission", Béaloideas 78 (2010), pp. 44–60. The main source for the Killarney chapter.

— Diane Negra (ed.), The Irish in Us: Irishness, Performativity, and Popular Culture, Durham 2006. Background for reading the modern leprechaun as a descendant of anti-Irish caricature.

— General Mills, "The History of Lucky Charms"; Atlas Obscura on Waldo the Wizard. Sources for the launch and temporary replacement of the Lucky Charms mascot.

— Dáil Éireann, debate of 11 December 1963. John A. Costello's criticism of Irish tourist advertising.

Next episode: the start of our series on the Brothers Grimm.

Forget the green suit. Forget the rainbow.

In his oldest stories the leprechaun isn't a mascot. He's a solitary, cunning and occasionally murderous creature. He comes out of the sea to drown sleeping kings. He lives in the wine cellar and refuses to move out. And he wins every single time, not through strength, but because he knows exactly where a human being looks when you distract them.

Part 1 of the Ireland Special is an extended story hour. No analysis, no context, just the tales, the way people in Ireland told them. The analysis comes in Part 2.

Sources

— D. A. Binchy, "The Saga of Fergus mac Léti", Ériu 16 (1952), pp. 33–48. The standard edition and translation of the Old Irish tale in which the lúchorpáin appear. Binchy's translation underlies the retelling in chapter I, including the bellows comparison, the seven years of concealment, and Fergus's last words.

— Thomas Crofton Croker, Fairy Legends and Traditions of the South of Ireland, London 1825. The earliest major collection of Irish fairy legends. Three of tonight's stories come from it: "The Haunted Cellar" (Ballinacarthy and Naggeneen), "The Field of Boliauns" (Tom Fitzpatrick) and "The Little Shoe" (Molly Cogan). Croker uses the word Cluricaune throughout for all of these beings.

— Thomas Crofton Croker, "Seeing is Believing", ibid. Source for Moirna Hogaune's account, and for the notes on the spré na skillenagh and the trick with the two purses.

— Lady Morgan, O'Donnel: A National Tale, London 1814. Quoted by Croker in his notes; contains the description of the creature as a guardian of treasure buried "in the troubles", and the explanation of why any marker you leave behind multiplies overnight.

— D. R. McAnally Jr., Irish Wonders, Boston 1888. Source for the regional variants in chapter VI: the northern Irish leprechaun, the Lurigadawne of Tipperary, the Luricawne of Kerry, the Cluricawne of Monaghan, and the frieze-coated west coast version.

— W. B. Yeats (ed.), Fairy and Folk Tales of the Irish Peasantry, London 1888. Groups the Lepracaun together with the Cluricaun and the Far Darrig among the "solitary fairies" — a classification we'll return to in Part 2.

Last time, I only told the stories. This time, we open our eyes. Part 2 of our Norway special asks the why behind the troll legends: where does the troll come from? Why does the sun kill him? Why does he flee the church bell? What really stood at that cradle – and why does this overwhelming creature lose in almost every story? A journey through etymology, National Romanticism, and the most honest, darkest folk belief in Norway.

📚 SOURCES & FURTHER READING– Ármann Jakobsson, work on the meaning of the word "troll" in the Middle Ages (incl. The Troll Inside You, 2017) – on the breadth of the Old Norse term.– Vladimir Orel, A Handbook of Germanic Etymology (2003) – on the origin of trǫll and its relation to jötunn and þurs.– Andreas Faye, Norske Folke-Sagn (1833/1844) – the early foundational collection of place-legends.– Peter Christen Asbjørnsen & Jørgen Moe, Norske Folkeeventyr (from 1841); Asbjørnsen, Norske Huldreeventyr og Folkesagn (1845–48) – the origin of the distinction between eventyr and sagn/huldreeventyr.– Oscar J. Falnes, National Romanticism in Norway (1933) – on the link between folklore and national identity after 1814.– Reidar Th. Christiansen, The Migratory Legends (1958) – the standard catalogue of Norwegian migratory legends (petrification, church legends, the changeling).– D. L. Ashliman, studies and text collection on the changeling – on reading the belief as an explanatory model for failure-to-thrive and disabled children.– On the visual tradition: Theodor Kittelsen (1857–1914) and Erik Werenskiold (1855–1938).

🎧 Grey Tales is also available as a podcast on Spotify and Apple Podcasts.

#Trolls #NorwegianLegends #Folklore #Mythology #Norway #Changeling #GreyTales

Norway is full of trolls. You just have to know how to read the mountains. In this first part of our Norway special there's no analysis, no explaining – only stories. A full story-hour at double length: the great petrification legends of the coast, the classic troll tales of Asbjørnsen & Moe, and the ancient belief about the child in the cradle. The interpretation follows in Part 2.

Sit down, turn the lights low, and come up into the mountains.

📚 SOURCES & FURTHER READINGTonight's tales come from the classic collection by Peter Christen Asbjørnsen & Jørgen Moe, Norske Folkeeventyr (from 1841 onward): "De tre bukkene Bruse" (The Three Billy Goats Gruff), "Askeladden som kappåt med trollet" (The Boy Who Had an Eating Match with a Troll), "Risen som ikke hadde noe hjerte på seg" (The Troll/Giant with No Heart in His Body), and "Kjetta på Dovre" (The Cat on the Dovrefjell).– Andreas Faye, Norske Folke-Sagn (1833/1844) – the early foundational collection of Norwegian place-legends and folk belief.– Reidar Th. Christiansen, The Migratory Legends (1958) – the standard catalogue of Norwegian migratory legends, including petrification, the changeling and church-bell motifs.– The Torghatten / Seven Sisters legend is the well-known place-legend of the Helgeland/Nordland coast (Brønnøysund, Alsten, Leka, Lofoten).– On the visual tradition: Theodor Kittelsen (1857–1914), who still shapes how we picture Norway's trolls.Note: this episode retells the legends. Their origin, interpretation and source-criticism are covered in full in Part 2.

In November 1610 the Spanish Inquisition burns people from the Basque village of Zugarramurdi at Logroño as devil-worshippers – the climax of the largest witch trial in history, in which some 7,000 people ultimately fall under suspicion. In this episode we follow how a neighbour returning with a story becomes an avalanche of fear, confession and burning stakes – and how, of all people, one inquisitor, Alonso de Salazar Frías, "the witches' advocate," brings the madness to a halt with nothing but evidence and a single question. A story about who invents the witch, why people confess to things they never did – and how rare the courage to doubt really is.

📚 SOURCES & FURTHER READING

• Gustav Henningsen, The Witches' Advocate. Basque Witchcraft and the Spanish Inquisition, 1609–1614 (University of Nevada Press, 1980) – the foundational study of the case; established the epithet "the witches' advocate."
• Gustav Henningsen (ed.), The Salazar Documents. Inquisitor Alonso de Salazar Frías and Others on the Basque Witch Persecution (Brill, 2004) – Salazar's five reports to the Suprema (1612–1614) in a bilingual edition.
• Emma Wilby, Invoking the Akelarre. Voices of the Accused in the Basque Witch-Craze, 1609–1614 (Sussex Academic Press, 2019) – recent close reading of the confessions and the pre-Christian Basque layer.
• Lu Ann Homza, Village Infernos and Witches' Advocates. Witch-Hunting in Navarre, 1608–1614 (Penn State University Press, 2022) – the village social dynamics and the logic of confession.
• Pierre de Lancre, Tableau de l'inconstance des mauvais anges et démons (1612) – the French judge's influential, lurid account of the sabbath; source for the era's "script."
• Instructions of the Suprema, 1614 – the directive, shaped by Salazar's reports, that effectively ended witch executions in Spain.
• On Basque mythology (Mari, Akerbeltz, sorginak): the ethnographic collections of José Miguel de Barandiarán (1889–1991).

Wiltshire, 1662: a magistrate takes a travelling beggar's drum away — and afterwards his house drums for two years. Out of nowhere. The "Drummer of Tedworth" is remembered as the first documented poltergeist in England. But behind the haunting lies a far bigger fight: over God, over the soul, and over who gets to decide what really happened.

In this episode we dig beneath the ghost story and ask the question that holds this whole series together: who tells a story — and why?

Sources & further reading (selection)

• Joseph Glanvill, A Blow at Modern Sadducism (1668) and Saducismus Triumphatus (posthumous, 1681, ed. Henry More) – the central contemporary accounts that made the case famous in the first place.
• John Webster, The Displaying of Supposed Witchcraft (1677) – the sceptical rebuttal to Glanvill.
• Samuel Pepys, Diary, entry for 25 December 1667 – contemporary reception of the case.
• Increase Mather, An Essay for the Recording of Illustrious Providences (1684) and George Sinclair, Satan's Invisible World Discovered (1685) – the onward spread of the case, as far as New England.
• Joseph Addison, The Drummer; or, The Haunted House (1716) – the comic, rationalising stage version.
• Charles Mackay, Extraordinary Popular Delusions and the Madness of Crowds (1841) – the reading of the case as fraud.
• Michael Hunter, "New light on the 'Drummer of Tedworth': conflicting narratives of witchcraft in Restoration England," Historical Research 78 (2005), pp. 311–353 – the definitive modern study, uncovering the early, partly unprinted versions of the case.
• Owen Davies, The Haunted: A Social History of Ghosts (2007) – historical context for the poltergeist tradition.

She waits at the roadside, she is beautiful, she loves you — and she is fattening you to drink your blood. The Lamia is one of humanity's oldest bogeys and one of its saddest. In this episode we follow her from an ancient vampire bride in Corinth, back to a queen of Libya whose children were all taken by a jealous goddess, and down to the rivers of Mesopotamia, where her ancestor Lamashtu was feared a thousand years earlier. And we ask what this demoness reveals about a fear that never went away — the fear for our children, of death without reason, and of the woman who was given the face of the monster.

📚 SOURCES & FURTHER READING

• Duris of Samos (c. 280 BC), fragment (FGrH 76 F 17) – transmits the archetypal Lamia legend of the Libyan queen, daughter of Belus.
• Aristophanes, Peace (421 BC) and its scholia – earliest literary mentions; the scholiast derives the name from laimós ("gullet").
• Diodorus Siculus, Library of History 20.41 (c. 30 BC) – rationalized version of the Lamia as a cruel, hard-drinking queen; explanation of the "removable eyes."
• Plutarch, On Curiosity 2 (c. 100 AD) – the fable of the eyes the Lamia sets in a vessel.
• Philostratus, Life of Apollonius of Tyana 4.25 (c. 220 AD) – the vampire bride of Corinth and Menippus; calls the creature empousa/lamia.
• Antoninus Liberalis, Metamorphoses 8 (c. 150 AD, after Nicander) – the legend of the Lamia/Sybaris on Mount Cirphis near Delphi and her killing by Eurybatus.
• Statius, Thebaid 1.562–669 (92 AD) – the child-killing monster Apollo sends against Argos, slain by the hero Coroebus.
• Byzantine Sisinnios/Gyllou incantation texts – the demoness is forced to reveal her "twelve and a half names"; the background to protective amulets against infant death.
• Sappho, fragment 178 (c. 600 BC) – earliest naming of the related Gello.
• Jerome, Vulgate, Isaiah 34:14 (c. 400 AD) – translates the Hebrew Lilith as Lamia.
• Walter Farber, Lamaštu. An Edition of the Canonical Series (Eisenbrauns, 2014) – standard edition on the Mesopotamian precursor Lamashtu.
• Sarah Iles Johnston, Restless Dead. Encounters Between the Living and the Dead in Ancient Greece (University of California Press, 1999) – reads Lamia, Gello and Mormo as "reproductive demons," the ghosts of those who died too young or in childbirth.
• John Keats, Lamia (1819), after Robert Burton, The Anatomy of Melancholy (1621) – shapes the modern image of the serpent-bodied seductress.

Note: the ancient sources contradict one another on many details. This video presents the main strands of the tradition.

At the edge of a spring, on the shortest night of the year, a woman of unearthly beauty sits combing her golden hair. She offers you a treasure — for a single kiss, without fear. Almost no one passes the test. The Moura Encantada is one of the best-known figures of Portuguese and Galician folklore — and one of the most misunderstood. In this episode we follow her from the spring all the way into real, excavated graves, and discover that her name tells a very different story from the one about the Moorish princess: a story about the dead, about the renaming of the defeated — and about why some boundaries must not be crossed.

📚 SOURCES & FURTHER READING

• José Leite de Vasconcelos, Tradições Populares de Portugal (1882) – foundational work of Portuguese ethnography; gives the classic definition of the Moura as a being under "state of siege" and the hypothesis that she absorbed older spring and nature deities.

• José Leite de Vasconcelos, Etnografia Portuguesa (posthumous, 1933–1988) – multi-volume standard work placing the Moura in the wider context of folk belief.

• Zófimo Consiglieri Pedroso, Contribuições para uma Mitologia Popular Portuguesa (1882) – describes the Mouras as "feminine water genies."

• Teófilo Braga, Contos Tradicionais do Povo Português (1883) – early collection of the tale material, including variants of the disenchantment legends.

• Alexandre Herculano, Lendas e Narrativas (1851) – literary treatment of the Reconquista legend of the Moorish princess.

• Francisco Martins Sarmento – excavations at the Citânia de Briteiros (from 1875); used Moura legends and place-names as clues to Lusitanian and Celtiberian sites.

• Isidoro Millán – philological derivation of Mouro/Moura from the Celtic root mrvos ("the dead"), cognate with Latin mortuus.

• Isabel Cardigos, The Enchanted Calendar of the Mouras Encantadas – reads the serpent-woman as the "unavailable" woman and analyses why disenchantment structurally has to fail.

Note: Folk legends exist in countless regional variants. This video presents the most widespread motifs.

In the autumn of 1589, near Bedburg in the German Rhineland, a wealthy farmer is broken to death as a werewolf. His name: Peter Stubbe. His case was printed across Europe and shaped our image of the werewolf to this day. But the closer you look, the less the story adds up — right down to a guest at the scaffold who had no business being there. An investigation across the records, the pamphlet, and the war that explains it all.

📚 Sources & further reading (selection):

• "The Damnable Life and Death of one Stubbe Peeter," London 1590 (trans. George Bores) – the central primary source; the German original print is lost.
• Diary of Hermann von Weinsberg, Cologne alderman – independent contemporary attestation.
• Woodcut/broadsheet attributed to Lukas Mayer (Nuremberg); engraving by Franz Hogenberg.
• Montague Summers, "The Werewolf" (1933) – reprint of the pamphlet, rediscovered 1920.
• Rolf Schulte, study of men in the witch trials (c. 2000) – the werewolf as the male counterpart to the witch.
• Elmar Lorey (1945–2019), research on early modern werewolf trials – the werewolf as an instrumentalised variant of the charge (elmar-lorey.de).
• On the political context: the Cologne / Truchsess War, 1583–1588.

⚠️ Note: Several details of this case (birth year, the reading of the name, the question of guilt, the political motive) are uncertain or scholarly interpretation.

#Werewolf #PeterStubbe #Bedburg #History #Folklore #WitchTrials #TrueCrime #Medieval #EarlyModern #Cologne

In the year 858, the Annals of Fulda — one of the most important historical sources for the East Frankish kingdom — record an incident that sits utterly out of place between Viking raids and comet sightings. On an estate near Bingen on the Rhine, an "evil spirit" spent three years throwing stones, hammering on walls, exposing thefts, revealing an affair involving the village priest, driving an innocent man and his family out into open fields, and finally burning almost the entire settlement to the ground. The exorcism sent from Mainz failed.

In this episode we walk through the source step by step, look at who wrote it and why, unpack the legal procedure of the ordeal by hot iron, and lay four readings side by side — from simple human agency through serial arson to the question of how much of this was created at a writing desk in Fulda. Nothing gets resolved. But everything we genuinely know ends up on the table.

SOURCES & READING LIST

Primary source

• Annales Fuldenses (Annals of Fulda), entry for the year 858
• Latin edition: Friedrich Kurze (ed.), Annales Fuldenses sive Annales regni Francorum orientalis, Monumenta Germaniae Historica, Hanover 1891
• English translation with commentary: Timothy Reuter, The Annals of Fulda (Ninth-Century Histories, vol. 2), Manchester University Press

On the author and the monastery of Fulda

• Rudolf of Fulda: Vita Leobae (836) and Miracula sanctorum in Fuldenses ecclesias translatorum (c. 843–847), ed. Georg Waitz, MGH SS 15/1, 1887
• Gangolf Schrimpf (ed.), Kloster Fulda in der Welt der Karolinger und Ottonen (Fuldaer Studien 7), Frankfurt am Main 1996

Region and society

• Matthew Innes, State and Society in the Early Middle Ages: The Middle Rhine Valley 400–1000, Cambridge University Press 2000

Trial by ordeal

• Robert Bartlett, Trial by Fire and Water: The Medieval Judicial Ordeal, Oxford 1986

Medieval belief in ghosts and demons

• Claude Lecouteux, Geschichte der Gespenster und Wiedergänger im Mittelalter, Böhlau, Cologne 1987
• Jean-Claude Schmitt, Ghosts in the Middle Ages: The Living and the Dead in Medieval Society (French original 1994)

Word history

• Jacob and Wilhelm Grimm, Deutsches Wörterbuch, entry "Poltergeist"
• Erasmus Alberus, Novum dictionarii genus, 1540

Rationalist assessment and modern cases

• Herbert Schäfer, Poltergeister und Professoren. Über den Zustand der Parapsychologie, Bremen 1994
• F. Karger / G. Zicha, "Physikalische Untersuchung des Spukfalls in Rosenheim 1967," in: Zeitschrift für Parapsychologie und Grenzgebiete der Psychologie 11 (1968), pp. 113–131

On the ergotism debate

• Alessandra Foscati, Saint Anthony's Fire from Antiquity to the Eighteenth Century, Amsterdam University Press 2020
• Annales Xantenses (Annals of Xanten), entry for the year 857

Every year on the first weekend after Ash Wednesday, thirty-metre wooden towers are erected across Vorarlberg, Austria — and set ablaze along with a gunpowder-filled witch doll. The custom is called "Funken," it's UNESCO-listed, and the standard explanation is: ancient paganism, driving out winter demons. But is that really true?

In this episode, I follow up on a viewer suggestion and uncover a story far more surprising than any myth. The fire may trace back to Roman antiquity — to the Vestal Virgins and the sacred flame rekindled on 1 March, the old Roman New Year. The witch, however, is barely 200 years old: a nineteenth-century invention inspired by the Brothers Grimm, designed to revive a dying tradition. And she stands in sharp contrast to the real witch persecutions in Vorarlberg, where more than 120 people — ninety per cent of them women — were executed.

An episode about fire, myth, political identity, and the question of who actually has the right to tell a story.

Sources & Further Reading:
— Manfred Tschaikner: "Damit das Böse ausgerottet werde." Hexenverfolgungen in Vorarlberg im 16. und 17. Jahrhundert. Bregenz, 1992.
— Manfred Tschaikner: "Die Lust, Hexen zu verbrennen." In: Der Bludenzer, 1996.
— Manfred Tschaikner: "Wohin mit den Funkenhexen?" In: Vorarlberger Nachrichten, 3/4 February 2024.
— Reinhard Johler: Die Formierung eines Brauches. Der Funken- und Holepfannsonntag. Vienna, 2000.
— Matthias Zender: Die Termine der Jahresfeuer in Europa. Göttingen, 1980.
— Franz Josef Fischer: Der Funken- und Küachlesonntag in Vorarlberg und Liechtenstein. 1921.
— Hermann Bausinger: Zur Kritik der Folklorismuskritik, 1969.

The grand finale of our four-part series on the real myths behind the monsters of "The Witcher" takes us away from the Slavic forests – south, to Portugal, Spain and Galicia. There the bruxa waits: in the games a beautiful, deadly vampire; in real folk belief a child-killing night-witch who turns into a bird and comes through any crack.

We follow her trail all the way back to ancient Rome – to the strix in Ovid – and with that we close the circle to the striga from Part 2: because the bruxa and the strzyga are, in truth, the same ancient creature. We visit the Basque witch trials of Zugarramurdi, meet the inquisitor Salazar Frías, who ended the Spanish witch-burnings – and ask, one last time: who tells a story, and why?

📖 Further reading & sources:

• Andrzej Sapkowski: "A Grain of Truth" (Ziarno prawdy, 1989; in "The Last Wish")

• Oswald Crawfurd: Portugal, Old and New (1880) – Northern Portuguese bruxa folklore

• José Leite de Vasconcelos: Tradições Populares de Portugal (1882 ff.)

• Ovid: Fasti, Book 6 (c. 8 AD) – the strix

• Daniel Ogden: The Strix-Witch (Cambridge University Press, 2021)

• Carmelo Lisón Tolosana: Brujería, estructura social y simbolismo en Galicia (1979) •

Julio Caro Baroja: The World of the Witches (Las brujas y su mundo, 1961)

• Gustav Henningsen: The Witches' Advocate – Basque Witchcraft and the Spanish Inquisition (1980)

• Carlo Ginzburg: The Night Battles (1966) & Ecstasies (1989)

• José Miguel de Barandiarán: Diccionario de mitología vasca

• Aurelio de Llano: Del folklore asturiano (1922) – the guaxa

#Bruxa #TheWitcher #Witcher3 #BloodAndWine #Vampire #Witch #IberianMythology #Folklore #Zugarramurdi #strix #GreyTales

A note: this episode touches on historical witch persecution, infant death, and violence against women. Take good care of yourself.

He's one of the most iconic creatures in "The Witcher 3": the Leshen, a towering forest terror with a deer skull and antlers. But in Part 3 of our four-part series on the real myths behind the monsters of "The Witcher," we uncover the truth: that face is largely invented – a modern "invented tradition."

We dig up the real Leszy: the master and shepherd of the forest, neither good nor evil, who leads travellers astray, makes pacts with shepherds and hunters, and punishes greed. We follow the famous "leading astray" motif all the way to a genuine scientific study on walking in circles (Souman et al., Current Biology, 2009), watch Christianity turn the guardian into a horned devil – and ask, at the end, why we summon this forest monster back today.

📖 Further reading & sources:

• Tomasz Z. Majkowski, Magdalena Kozyra & Aleksandra Prokopek: "The Invention of Leshy," in: Games and Culture (2025)

• Alexander Afanasyev: Poetic Views of the Slavs on Nature (1865–1869)

• Sergei Maksimov: Nechistaya, nevedomaya i krestnaya sila (1903)

• Dmitry Zelenin: Ocherki russkoi mifologii (1916)

• Kazimierz Moszyński: Kultura ludowa Słowian, Vol. II (1929–1939)

• Aleksander Gieysztor: Mitologia Słowian (1982)

• Linda J. Ivanits: Russian Folk Belief (1989)

• W. F. Ryan: The Bathhouse at Midnight (1999)

• Jan L. Souman et al.: "Walking Straight into Circles," in: Current Biology 19 (2009)

• Vic Tandy & Tony Lawrence: "The Ghost in the Machine," in: Journal of the SPR (1998) – infrasound

It's the very first monster of the Witcher saga – and the moment Geralt became a hero: the striga, a cursed princess who rises from her crypt by night. In Part 2 of our four-part series on the real myths behind the monsters of "The Witcher," we uncover where this creature truly comes from.We follow the trail from Andrzej Sapkowski's debut (1986) back to Roman Zmorski's fairy tale "Strzyga" (1852) – plagiarism accusation and all – then on through the Roman owl-demon strix in Ovid, to the disturbing folk belief in two souls, two hearts and two rows of teeth. We open the "vampire graves" of Drawsko and Pień, hear the literary echo in Gogol's "Viy" – and ask, at the end, who the real monster was.📖 Further reading & sources: • Roman Zmorski: "Strzyga," in: Podania i baśni ludu w Mazowszu (1852) • Andrzej Sapkowski: "Wiedźmin" (in: Fantastyka, 1986; collected in "The Last Wish") • Magdalena Roszczynialska: "Nowa baśń: 'Strzyga' Romana Zmorskiego i 'Wiedźmin' Andrzeja Sapkowskiego" (2003) • Ovid: Fasti, Book 6 (c. 8 AD) – the strix and the boy Proca • Aleksander Brückner: Mitologia słowiańska i polska (etymology strix → strzyga) • Szymon Gonet: "Strzygonie," in: Lud, vol. 3 (1897) • Henryk Biegeleisen: Śmierć w obrzędach, zwyczajach i wierzeniach ludu polskiego (1930) • Kazimierz Moszyński: Kultura ludowa Słowian, vol. II (1929–1934) • Jarosław Kolczyński: "Jeszcze raz o upiorze (wampirze) i strzygoni (strzydze)," in: Etnografia Polska 47 (2003) • Gregoricka, Betsinger, Scott & Polcyn: "Apotropaic Practices and the Undead," in: PLOS ONE (2014) – Drawsko cemetery • Prof. Dariusz Poliński, Nicolaus Copernicus University Toruń – Pień excavation / "Zosia" (2022/2023) • Nikolai Gogol: "Viy" (1835) • Paul Barber: Vampires, Burial, and Death (Yale University Press, 1988)#Striga #Strzyga #TheWitcher #Witcher #SlavicMythology #Vampire #Folklore #Zmorski #Gogol #GreyTalesA note: this episode deals with historical folk beliefs around death and burial. If these themes feel heavy for you right now, take good care of yourself.

Geralt calls her a "Noonwraith." The Poles call her Południca. And in Lusatia she was feared as the Noon Woman — sickle in hand. In Part 1 of our new four-part series on the real myths behind the monsters of "The Witcher," we dig up where the deadliest ghost in Slavic legend truly comes from: a demon who doesn't appear in the night, but in the merciless light of the noon hour.

We follow her from the Witcher contract "The White Lady" through the Sorbian legends of Lusatia and the biblical "noonday demon" to Dvořák's chilling tone poem — and ask, at the end, what CD Projekt Red changed about the old myth. And why.

📖 Further reading & sources:

• Karl Haupt: Sagenbuch der Lausitz, Vol. 1 (Leipzig, 1862) – "Die Mittagsfrau. Připolniza"
• Johann Georg Theodor Grässe: Der Sagenschatz des Königreichs Sachsen, Vol. 2 (Dresden, 1855/1874) – "Das Mittagsgespenst"
• Edmund Veckenstedt: Wendische Sagen, Märchen und abergläubische Gebräuche (Graz, 1880)
• Friedrich Sieber: Wendische Sagen (1925) – "Die Mittagsfrau fragt zu Tode"
• Elias Canetti: Crowds and Power (Masse und Macht, 1960), chapter "Question and Answer"
• Kazimierz Moszyński: Kultura ludowa Słowian (Folk Culture of the Slavs)
• Karel Jaromír Erben: Kytice (1853), ballad "Polednice"
• Antonín Dvořák: The Noon Witch (Polednice), Op. 108 (1896)
• Research of the Sorbian Institute / Serbski institut on the Noon Woman
• Psalm 91:6 (Vulgate 90:6): "daemonium meridianum"

#LadyMidday #Poludnica #Noonwraith #TheWitcher #SlavicMythology #Folklore #Lusatia #Sorbs #Mythology #GreyTales

Forty minutes east of Munich lies one of the largest unbroken forests in Germany — ninety square kilometres, with not a single settlement to break it up. Cutting straight through it runs State Road 2080, and along it, level with the lonely Hubertus Chapel, a "White Lady" is said to walk at night: the ghost of a cyclist who supposedly bled to death in the forest after a hit-and-run. She waves drivers down, gets in without a word, and vanishes again — or grabs the wheel and steers the car into a tree.

The problem: that accident never happened. No record, no bicycle, no body. And yet the locals would rather take a nightly detour than drive the stretch.

In this episode we ask how a ghost is born out of nothing. We trace the White Lady back to the death omen of the House of Hohenzollern and the pagan-Germanic goddess Perchta, we meet the international "Vanishing Hitchhiker," and we descend into a forest that lies over a pagan boar cult, Iron Age graves, and the skull of a plague saint. What we're left with is an unsettling realisation: the White Lady of the Ebersberg Forest is the only ghost whose birth we can watch almost in real time — a legend that formed before our eyes, in the age of the internet.

Further reading / sources:

• Jan Harold Brunvand: The Vanishing Hitchhiker. American Urban Legends and Their Meanings (1981)
• Johann Georg Theodor Grässe: Sagenbuch des Preußischen Staats, Vol. 1 (the legend of the White Lady)
• Oskar Schwebel: Die Sagen der Hohenzollern (1878)
• Jacob Grimm: Teutonic Mythology / Deutsche Mythologie (on Frau Holle / Perchta and white female figures)
• Wikipedia: "White Lady (ghost)," "Ebersberg Forest," "Ebersberg Abbey," "St. Sebastian (Ebersberg)"
• Bavarian State Office / BfN on the Ebersberg Forest (history as a sovereign hunting forest, forest layout)
• Süddeutsche Zeitung, Ebersberg local section, on the modern haunting legend

Note: This episode deals with a legend. It is folklore and folk studies, not a documented criminal case.

In 1576, a gravedigger on a plague island in the Venetian lagoon reopened a mass grave. One of the corpses — a woman — was bloated, red-lipped, and her burial shroud was torn to shreds around her open mouth. It looked like she had been eating. He grabbed a brick and shoved it between her jaws.

In 2006, archaeologists found her. The brick was still there.

The Nachzehrer is the forgotten vampire of German folklore — and it is nothing like the one you know. No cape, no fangs, no castle. This undead lies in its coffin and chews. First its shroud, then its own flesh. And through an invisible, magical connection, everyone it was close to in life begins to waste away. You don't see it coming. You just get tired. Pale. And then you die.

In this episode, we trace the Nachzehrer from the plague pits of medieval Germany to the academic vampire debates at the University of Leipzig. We uncover the Kashubian Vjesci — a near-identical creature from Poland's Baltic coast — and the eerie "Empty Night" ritual designed to catch the undead before burial. We examine the forensic science that explains everything the gravediggers saw: the bloating, the red lips, the torn shroud, the sounds from underground. And we visit the Venice find — a 16th-century woman with a brick in her mouth, whose face was reconstructed by scientists in 2024, more than 400 years after she was declared a monster.

🔔 Subscribe for deep dives into folklore, the uncanny, and the stories that refuse to stay buried.

Imagine a bathtub. Stone, or maybe copper. In a cold chamber of a castle high in the Carpathians. Filled not with water — but with the blood of young girls. In it sits a countess who believes this bath will keep her young.Nearly everyone knows this image. It is one of the most famous horror stories in Europe. And it is an invention. It appears in no court record. No witness ever described it. It was written 115 years after the woman's death by a Jesuit scholar who never met her.Elizabeth Báthory — the Blood Countess. 650 victims, says a legend. 80, says a court verdict. Zero, say some historians today. In this episode, the final chapter of the Carpathian Trilogy, we lay out every side. The countess as sadist. The countess as political victim. And the long, dark space in between where the two can no longer be separated. We trace the rigged trial of 1611, the torture confessions, the phantom number of 650, and the revisionist case that Báthory was destroyed by Habsburg debt, Counter-Reformation politics, and a cousin who happened to be Palatine. And we ask why the most enduring image — the blood bath — was fabricated a century after her death, and what that tells us about every monster story we've ever been told.This is the third and final episode of the Carpathian Trilogy. --------------------------------🔔 Subscribe for deep dives into folklore, the uncanny, and the stories that refuse to stay buried.

Nuremberg, 1488. A printing press spits out a pamphlet with a woodcut on the cover: a crowned prince dining at a table, surrounded by a forest of stakes. Men, women, children — skewered like insects. It becomes one of Europe's first mass-media sensations. And it creates a myth that refuses to die.

But who was the man behind the woodcut? Was Vlad III Țepeș really the bloodthirsty monster of the German pamphlets — or the just ruler of the Russian chronicles? A sadist who turned impalement into a system of government — or a moderniser who centralised a failing state? A war criminal — or the only man who made Sultan Mehmed II turn his army around?

In this episode, we follow Vlad from his childhood as an Ottoman hostage to the Easter massacre at Târgoviște, from the forest of 20,000 impaled bodies to his mysterious death in the Wallachian swamps. We trace the German pamphlets and their Russian counterpart. We ask why Matthias Corvinus needed a scapegoat — and why Ceaușescu needed a hero. And we settle the question once and for all: did Bram Stoker base Dracula on Vlad the Impaler? The answer is no. And the real story is far more interesting.

This episode is a direct sequel to our Strigoi episode. If you haven't seen that one yet, I'd recommend watching it first.

In January 2004, six men in a Romanian village dug up a dead man. He had been in the ground for six weeks. They cut open his chest, removed his heart, burned it at a crossroads, mixed the ashes with well water, and gave it to a sick young woman to drink. They said they saved her life. They said the man had become a Strigoi.This is not folklore. This is not the Middle Ages. This happened in 2004 — with police reports, a court verdict, and evidence of at least twenty similar cases in the same region that never made it to the public.In this episode, we trace the Strigoi from its ancient Latin roots to the Romanian villages where it never stopped being real. We open the archaeological graves of Poland, Czechia, and Venice. We follow the Habsburg bureaucrats who accidentally invented the word "vampire." And we unravel the most persistent myth in horror history: that Bram Stoker's Dracula was inspired by Vlad the Impaler. He wasn't. The true source is far older, far stranger, and far more disturbing — and six men with a pitchfork proved it was still alive.🔔 Subscribe for deep dives into folklore, the uncanny, and the stories that refuse to stay buried.

Keywords:

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In part two of our journey into the Nøkken, we go down into the cellar — to the place where music becomes more dangerous than any knife. Because the most terrifying thing about this Scandinavian water spirit isn't that he can be a horse, or a bearded old man with water dripping from his beard. It's his violin.We travel to the Norwegian valley of Hallingdal, to the farm Myljo Larsgard, in the spring of 1724. A wedding turns into a knife fight. The fiddle player goes down to tap a fresh barrel of mead — and finds someone already waiting for him. We unpack the exact recipe of the bargain at the waterfall: the white billy goat, the north-flowing falls, the Thursday night, the fingers that have to bleed before the gift is handed over. And we listen for the eleventh tune — the one no fiddler is ever allowed to play, because it brings even the dead back up to dance.We meet Torgeir Augundsson, known as Myllarguten, the miller's boy from Telemark whose whole country believed he had really struck the deal. We stand in front of two of Scandinavia's most haunting paintings, Kittelsen's Nøkken and Ernst Josephson's twelve-year obsession. We hear Stagnelius's poem about an innocent child silencing a water spirit forever. And in the end, we ask the question that makes this creature so deeply human: does the Nøkken have a soul — and can it be saved?Subscribe and stay watchful.#GreyTales #Nokken #Folklore

For more than a thousand years, the lakes, rivers, and millponds of Scandinavia have been haunted by a creature that has no fixed shape. He is a bearded old man with water dripping from his beard. He is a grey horse with its hooves on backwards. He is a naked young man sitting on a lily pad in the moonlight. His name is the Nøkken — and he is one of the most disturbing figures in all of European folklore.In this first part of a two-episode journey, we travel through Norway, Sweden, Denmark, Iceland, the Faroe Islands, and Finland to understand who this water spirit actually is. We hear the story of the dairy maid who climbed onto a horse that wasn't a horse, and gave her name to a heath in eastern Iceland. We visit the Swedish lake whose water lilies are blood red, and we learn why. And we discover why Scandinavian mothers, for centuries, taught their children to carry a steel nail in their pocket before going anywhere near water.Behind all of these stories lies a bitter truth. In 19th-century Sweden, roughly 40% of all children died before the age of 15. The Nøkken wasn't only a monster. He was an explanation. A way of managing grief. A warning that worked.In part 2, we go into the cellar. We meet the violin, the bargain at the waterfall, and the eleventh tune that no one is allowed to play.Subscribe so you don't miss it.#GreyTales #Nokken #Folklore

Imagine looking up at the sky tonight and knowing that out there—invisible to the naked eye—a mysterious object is hurtling through our solar system. A visitor from the unimaginable depths of the galaxy that has been wandering through space for over 9 billion years. Longer than our entire solar system has existed. This cosmic wanderer is called 3I/ATLAS, and its story is a thriller full of mysteries, scientific controversies, and a question that should concern us all: Are we really alone in the universe?Oumuamua, Borisov, and Atlas fascinate laypeople and scientists alike. I've compiled everything there is to know about them.-----Music: Skies Speak - Landscape, Theatre of Delays - HorizonAuthor: Cris Frickenschmidt

Imagine you are living in 1903 in a small mining town in Iowa. It is the middle of the night when suddenly a bright light shines through your window. You look outside and see a huge, winged figure with glowing eyes moving across the rooftops at superhuman speed. Sounds like a nightmare? For the residents of Van Meter, Iowa, it was bitter reality.I set out to find facts and rumors and have summarized everything here. After extensive analysis, here is my conclusion.-----Music: Kyle Preston - Tomb Research Cave Ambience, Theatre of Delays - Tides, Yehezkel Raz - RA - Instrumental versionAuthor: Cris Frickenschmidt