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Picozzi 1
Kimberly J. Picozzi
Dr. Figa and Professor Payne
SLIS 5440
25 June 2002
Evolution of the Siren Figure in Stories
Thematic Description and Rationale for the Project:
All cultures explore the journey of life in their stories. Sometimes the
journey is fraught with peril while at other times the journey is rich with reward.
Physical and emotional needs often overpower intellectual strength and lead the
hero or heroine astray. More often than not though, the human will to survive
prevails and the hero or heroine overcomes the temptation. Humans can identify
with fictional stories, and often gain renewed strength to face the realities of daily
life in the real world.
One figure in particular that pinpoints the frailty of man is the siren. The
bird woman figure dates back to the ancient Egyptians though the most familiar
recordings begin with the ancient Greeks. While some succumb to the charms of
the bird woman’s song, others withstand the temptation and live to tell the tale.
The siren type figure appears consistently in stories with each cultural group
reinterpreting some aspect of the mythical being. This report takes a geographic
trip around the globe, visiting ten siren stories. Stories selected include one or
more of the following elements: a bird woman or siren type figure, a song or
luring call, and water habitat. Then, each story featuring a siren or siren type
figure was analyzed for character, setting, and morphology.
The map below shows the dispersion of the siren stories included in this
report.
Denmark,
“The Little Mermaid”
Great Britain,
Siren
U.S.A.
Siren
Germany, Lorelei
Russia, Undina
Russia, Rusalki
Italy, Siren
Wife
Greece, Siren
(2 stories)
New Zealand, Kurangaituku
map graphic
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The search for sirens began as a “bird walk” while I was tracking
references to the quest hero. The word first caught my attention when I browsed
the Index to Fairy Tales, 1949-1972: Including Folklore, Legends and Myths.
What proved most interesting was the additional reference to Lorelay (391). An
investigation of the 1937 edition of the Index netted an entry for Lorelei, which
mentioned another title Herotales and Legends of the Rhine by Lewis Spencer
(253). This gave me a geographic point of reference for the story. I began to
scan books in the surrounding 398 Dewey area and found the Encyclopedia of
Russian and Slavic Myth and Legend. This book proved to have the greatest
variety of siren type figures, listing Lorelei, Ondine [a reference to a French story
not examined in this report], Sirens, and Rus(s)alki (236). The Dictionary of
Mythology Folklore and Symbols by Gertrude Jobes confirmed the existence of
Lorelei (1013), Rusalka (1355), Siren (1458), and Undine [a variant spelling of
Ondina] (1624).
Finding the references to the figures was a beginning point. Tracking the
stories proved challenging. The Stith Thompson Motif-Index of Folk Literature
indexed the siren tales in the following major categories:
B53 Siren (Vol. 1, 52).
D199.3 Transformation: woman to siren (Vol. 2, 26).
J672.1 Ears stopped with wax to avoid enchanting song (Vol. 4,
52).
M434 Curse: to be swallowed by a siren (Vol. 5, 71)
Stith Thompson indexed stories in specific books, but the books were very
dated and none were found in the UNT, TAMU-CC, or Corpus Christi Public
Library databases. While I could not immediately locate collections with the siren
stories I wanted, I did gather several books about mythical figures. These proved
very useful, particularly Mythical and Fabulous Creatures: A Source Book and
Research Guide by Malcolm South. Not only was the book published recently,
thus referencing books that were more accessible within the research timeframe,
the bibliographies at the end of each chapter in this book provided references to
stories I was able to locate.
Next, I used the geographic locations and various spellings of the siren
figures and searched the Internet via Google. Slowly, I began to find the siren
stories. I also listed sources of the siren stories I knew, The Odyssey and The
Argonautika.
Bibliographic Citation and Story Description:
Anderson, Hans Christian. The Little Mermaid. 22 June 2002. Hans Christian
Andersen: Fairy Tales and Stories. 23 June 2003.
H.C. Anderson’s Little Mermaid longs for dry ground and the love of a mortal
prince. Complications ensue on this quest for mortality. The Little Mermaid pays
dearly for her desire, forgoing her gift of song in the hopes of winning the love of
the prince.
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Atwood, Margaret. “Siren Song.” 2002. vers libre. 23 June 2002.
http://www.nth-dimension.co.uk/vl/poem.asp?id=54
Atwood’s poem reinforces the classic stereotype of the siren as a manipulative
female who thrives on deceiving and destroying the males she encounters. The
irony of the men falling for the song “trap” lends a comedic tone to this modern
interpretation.
Forster, E. M. “The Story of the Siren.” The Collected Tales of E. M.
Forster. New York: Alfred A. Knopf, 1979. 245-258.
Forster uses an idyllic Mediterranean setting and casts a visiting Englishman who
hears the tale of the siren from an Italian native. In an interesting twist, the siren
supposedly offers knowledge of all, which proves more than most men can
handle.
Gordon, Mona. “Kurangaituku and Riroriro, the Grey Warbler.” Maori Myth and
Lore. 1 June 2002. New ZealandBirds and Birding. 23 June 2002.
http://www.nzbirds.com/Birdwoman.html
Hatupatu encounters Kurangaituku, the bird woman with deadly long talons, and
through his own ingenuity survives to tell the tale.
Homer. The Odyssey. Trans. E. V. Rieu. New York: Penguin Books, 1985.
One of the earliest accounts of the siren story, the Greek hero Odysseus must
overcome the wiles of the Sirens and continue his journey to Ithaca. His does
this only by following the advice of the sorceress Circe who tells him how to avoid
the Sirens’ charms.
Rhodious, Appolonios. The Argonautika: The Story of Jason and the Quest for
the Golden Fleece. Trans. Peter Green. Berkeley: University of
California Press, 1997.
This classic Greek story once again pits the epic hero against the Sirens.
Ironically Orpheus uses music to battle the beguiling song of the Sirens and thus
leads Jason and the Argonauts safely past the island of the Sirens.
Ruland, Wilhelm. “St. Goar: Lorlei.” Legends of the Rhine. Cologne: Hoursch
and Bechstedt Publishers, [ca. 1906]. 5 June 2002. Kellscraft Studio. 23
June 2002.
http://www.kellscraft.com/LegendsRhine/legendsrhine068.html
This haunting account of the “false enchantress” of the Rhine describes the
death and destruction faced by those who would seek to outwit Lorlei. Though
her physical form is no longer seen on the cliffs over the Rhine, her song
continues to echo in the ears of those who pass.
“Rus(s)alki.” Encyclopedia of Russian and Slavic Myth and Legend. Ed. Mike
Dixon-Kennedy. Santa Barbara, CA: ABC-CLIO, 1998. 236-237.
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The name Rusalki consistently appears in entries related to sirens. Described as
a beautiful but lonely creature, the Rusalki whisks unwitting young men who
respond to her calls to her underwater home and death.
“The Siren Wife.” Italian Folktales. Selected and Retold by Italo Calvino. Trans.
George Martin. New York: Harcourt Brace Jovanovich, 1956. 455-458.
A vengeful husband casts his unfaithful wife into the sea. The sirens who live in
a magnificent sea-floor kingdom rescue the woman and rename her Froth. The
Siren wife never forgets her husband and in an effort to rejoin him brings doom
and destruction upon the sirens.
Zhukovsky, Vasily Ivanovich. “Undina.” 2002. Russian Sunbirds, Inc. 23 June
2003. http://www.sunbirds.com/lacquer/readings/1107
Zhykovsky’s “Undina” tells the story of a beautiful water maiden who lives on land
only because she has known the love of a man called The Knight. Once The
Knight betrays Undina, she once again makes her home in the river’s depths,
returning only once to “settle the score” at her underwater families behest.
Story Analysis:
After reading the stories featuring a siren or siren type figure, stories were
revisited for character, setting, and morphology analysis. The following charts
provide an overview of the analysis.
Story/Siren
figure name
“The Little
Mermaid”/The
Little Mermaid
“Siren
Song”/Siren
“The Story of
the
Siren”/Siren
“Kurangaituku
and Riroriro,
Appearance
Character Analysis
Personality
blue eyes, long hair, and
“her skin was clear and
delicate as a roseleaf…body ended in a
fish tail” (Anderson 2002).
Longs to know about
land; sensitive;
selfless (Anderson
2002)
Consistent with figures
found in Greek artwork,
but poet not highly
descriptive. Only
descriptive phrases: “bird
suit” (Atwood 12)
“squatting on this island /
looking picturesque and
mythical / with these two
feathery maniacs”
(Atwood 14-16).
Supposedly, no man who
is alive has seen her
(Forster 257).
Emphasis on razor sharp
fingernails; height
Deceitful flatter
(Atwood 19), bored
(26).
Implied vanity
(Forster 248); sings
(249); “wicked” (249).
Lonely, determined
(Gordon 2002).
Motive/Goals
Initially personal, wants to
live on land. Gives up
voice and forgoes
immortality to live on land
with a prince (Anderson
2002).
Seduce men; cause their
demise (Atwood).
Reveal all knowledge of
world to those who see her
(Forster 252).
Initially ensnares Hatupatu
because of his novelty.
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the Grey
Warbler”/
Kurangaituku
The Odyssey,
Sirens
compared to that of trees
(Gordon 2002).
No physical description
either by Circe or
Odysseus.
Beguiling (Homer
190).
The
Argonautika/
Sirens
“St. Goar:
Lorelei”/
Lorelei
Half bird, half maiden
(Rhodious 174).
“Ruthless” (Rhodious
175).
Actually fully human,
blond hair, enchanting
beauty (Ruland 2002).
Mournful for lost of
love (Ruland 2002).
“Rus(s)alki”/
Rusalki
No bird like features;
Northern tales describe
her as young and
appealing; Southern tales
describe her as mean
and unattractive
(“Rus(s)alki” 236).
Pictures show mermaid
tale (? 2002).
“The Siren
Wife”/Froth
Actually fully human;
black hair rather than
blond (“The Siren Wife”
456).
“Undina”/
Undina
Human form, trim, flaxen
hair, and blue eyes
(Zhukovsky 2002).
“Sometimes
malevolent,
sometimes
benevolent”
(“Rus(s)alki” 236).
Combing of hair and
examination of
reflection in water
implies vanity
(“Rus(s)alki” 236).
Often sad and lonely
(“Rus(s)alki” 236).
Repentant where
husband is
concerned; selfserving in the end
(“The Siren Wife”
457-458).
Curious, loving, hurt
by betrayal
(Zhukovsky 2002).
Rescue alleged lost
Riroriro, recapture
Hatupatu.
Seduce men and keep
them from ever reaching
their homes and families
(Homer 190).
Deprive men of “honey
sweet homecoming”
(Rhodious 174).
Actions that may not be
purposeful cause boatmen
to lose way and wreck on
reefs/cliffs (Ruland 2002).
Gain companion to ease
loneliness (“Rus(s)alki”
236).
Siren wife: regain love of
husband. Other Sirens:
gain jewels seduce/destroy
sailors (“The Siren Wife”
458).
Gain permanent soul by
securing the love of a man
(Zhukovsky 2002).
Five stories feature the classic Greek concept of the Siren, that of a bird
woman: Atwood’s “Siren Song,” Forster’s “The Story of the Siren,” Gordon’s
“Kurangaituku and Riroriro, the Grey Warbler,” Homer’s The Odyssey, and
Rhodious’s The Argonautika. This conceptual picture is gleaned from a multitude
of reference sources both print and online, but one of the most authoritative is the
Dictionary of Literary Themes and Motifs, edited by Jean-Charles Seigneuret.
This work examines art and writings in generating a seven-page description of
the siren figure. The appeal of the siren type figures seems not to be so much in
their physical appearance as in the song or words that they emit. In almost every
case the song or words are irresistible to the men who hear them. The Little
Mermaid once sang beautifully but allows her tongue to be cut out so she can
live on land. Kurangaituku speaks but does not sing, and varies most widely
from the siren figure in that she does not seem to have seductive appeal.
Each of these stories features a siren that traps men and then destroys
them. In Atwood’s rather contemporary poem, the siren destroys the men fully
and suffers boredom because the “game” has become rather predictable.
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Forster’s short story provides a twist with the siren’s song being the knowledge of
all. While those who receive this wisdom live, they are miserable with the burden
of the knowledge. Gordon’s mythical Kurangaituku is a mighty huntress, but
does not kill the man she traps. The Kurangaituku story does share something in
common with the bird women of Homer and Rhodious’s Greek epics though. In
all these stories, a cultural hero outwits the bird woman, leaving their abilities as
huntresses rather void.
Three stories present a siren figure in human form. Both Lorelei and Froth
are human. Lorelei never enters the water. Undina and Froth are able to live on
land and in the sea. The Little Mermaid and Rusalki both are characterized as
mermaids with a human upper torso and a fishtail lower torso. A common
feature of these stories is that a man betrays all of these characters except
Rusalki. Lorelei’s mournful cry over a lost love echoes over the Rhine causing
the death of sailors who are misled by the sound. The unfaithful Siren Wife,
Froth, is actually drowned by her vengeful husband. Surprisingly, Froth longs for
her husband and through a betrayal of the sirens who save her is rejoined with
him. The Little Mermaid pines for land and love only to be disappointed by both.
The Little Mermaid is unselfish and suffers greatly for her desires. Ultimately this
selflessness is rewarded. Rusalki longs for companionship but when she takes
young men to her underwater home they drowned. The siren figure seems
destined to dissatisfaction in her interactions with men.
The siren figures exhibit real human behavior. In the cases of The Little
Mermaid, Kurangituku, Lorelei, Rusalki, Froth, and Undina they long for
something they do not have. Each of these stories includes a description of a
character that longs for companionship of some sort. With the exception of the
Little Mermaid and Kurangituku each of these siren figures causes death and
destruction to others in their quest to fill their need. The idea of seduction and
destruction being so closely related should surprise no one. The more traditional
Sirens of the Greek poets, Atwood, and Forster typify what has become known
as siren behavior, they use their wiles to seduce in an attempt to dominate
males. When reviewing textbooks for the 2000 adoption, I noted that The
Odyssey was in most 9th grade texts offered by publishing companies across the
United States. The others siren stories are surely not widely known, thus the
concept of the siren as destructive probably prevails in American culture.
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Story/Siren figure
name
“The Little
Mermaid”/The Little
Mermaid
“Siren Song”/Siren
“The Story of the
Siren”/Siren
Setting Analysis
Country/Culture of Origin
Denmark/Danish
circa 1837 (Dictionary 1215)
United States of America/
American
1974 (Hudson 2002).
Great Britain/British
1920
“Kurangaituku and
Riroriro, the Grey
Warbler”/
Kurangaituku
New Zealand, Maori
1938 (Gordon 2002)
The Odyssey/ Sirens
“St. Goar: Lorelei”/
Lorelei
Greece/Greeks
circa 8th century BC
(Dictionary 1211).
Greece/Greeks
circa 3rd century BC
(Dictionary 1211).
Germany/German
circa 1801 (Dictionary 1215).
“Rus(s)alki”/Rusalki
Russia/Slavic
“The Siren Wife”/
Froth
Italy/Italian
1956
“Undina”/Undina
Russia/Russian
circa 1811 (Dictionary 1214).
The Argonautika/
Sirens
Description of Habitat
Sea kingdom on the bottom of the
ocean, inhabited by friendly fish and
beautiful flowers. Contrasted with sea
witch’s lair where refuse of ocean can
be found and dry land, which turns out
to be a great disappointment
(Anderson 2002).
A place with beached skulls, reader
infers that it is an island (Atwood 6).
Under beautiful turquoise
Mediterranean sea, may rest on rock in
grotto to comb hair (Forster 248).
Cave in a dense forest where the
Kurangaituku hunts. Cave houses her
assorted collection of loyal and well-fed
creatures, primarily birds. Dies by
falling in boiling springs of
Whakarewarewa (Gordon 2002).
“flowery meadow” by which boats can
pass (Homer 193).
Island of Anthemóessa in the
Mediterranean (Rhodious 174).
Lorelei rock high above waters of the
Rhine and shrouded in gilded mist
(Ruland 2002).
Found in waters that run through the
forest. Sometimes found on “banks of
river or lake” or on limb of tree
overhanging water. Sings on moonlit
nights (“Rus(s)alki” 236).
Inhabited underwater kingdom of
Sirens; sings on moonlit nights (“The
Siren Wife” 456).
Originally daughter of Mediterranean
sea king, lives with mortal parents on
“desolate peninsula” until ultimately
returns to river (Zhukovsky 2002).
All of the stories have a water setting with the exception of the Maori tale
“Kurangaituku and Riroriro, the Grey Warbler.” The story settings seem to match
those most common to the geography of the culture propagating the story. The
Greeks, Danes, Brits, Italians, and Americans all have a familiarity with the
ocean. The Russians and Germans certainly can imagine rivers.
Most of the stories feature a rock. The Little Mermaid hides behind a rock
to watch her prince and her sisters sit on a rock and sing to passing sailors. The
Greek Siren’s lure their prey to the rocky shoals surrounding their island. Many
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writings assign an actual physical location of the mythical Sirens. Denys Page in
his Folktales in Homer’s Odyssey, writes “they inhabited three island-rocks off
the west coast of Italy, between Sorrento and Capri” (85-86). Forster’s story
mentions a rock in the grotto entrance where the siren combs her hair (248).
Atwood describes rocks littered with the remains of previous victims (2002). In
the Maori tale Hapupatu seeks shelter behind a rock (Gordon 2002). Lorelei
perches atop a rocky cliff in the Rhine tale (Rundin 2002) while a picture of
Rusalki shows her on a waterside rock (“Rusalka” 2002). Finally, the Siren wife
lures the other siren’s away from their underwater kingdom with jewels which
could be interpreted as “rocks.”
While Undina seems rather unrelated to the Greek Sirens, it is interesting
to note that she refers to her father who is a Mediterranean sea king (Zhukovsky
2002). Peter Green’s glossary notes in The Argonautika describe the Sirens’
parents as “the river god Acheloös and the Muse Terpsichoré” (268) and cause
speculation as to a connection between the Greek Sirens and the Russian water
maiden Undina.
One consistent thing about most of the stories is that the water is a
protective domain for the siren creature. All of the siren figures except
Kurangaituku, who dies in a boiling spring, find solace in the water. For the
Greek Sirens, Lorelei, and the sirens of Atwood’s poem, water provides a divide
that when crossed by men leads to death. The Little Mermaid, Froth, Rusalki,
and Undina cannot take a companion into their underwater home without causing
him death. Forster’s short story plays upon the unknown. The tourist being told
the siren story and the Italian relating it know relatively little about the siren, but
piece together what they do know into an intentionally fragmented story that
surely continues the mystery surrounding these mythical and magical creatures.
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Story/Siren
figure name
“The Little
Mermaid”/The
Little Mermaid
“Siren Song”/
Siren
“The Story of
the Siren”/ Siren
Morphology
Appearance Change
Mermaid physique: upper torso
human, lower torso fish tail. Graphic
detail: lose tongue to gain fully
human form (Anderson 2002).
Consistent with figures found in
Greek artwork, but poet not highly
descriptive. Only descriptive
phrases: “bird suit” (Atwood 12)
“squatting on this island / looking
picturesque and mythical / with these
two feathery maniacs” (Atwood 1416).
Beauty of the Mediterranean
associated with Siren, but no
physical description (Forster 246247). Described as combing her hair
(Forster 248).
“Kurangaituku
and Riroriro, the
Grey Warbler”/
Kurangaituku
Emphasis on razor sharp fingernails;
height compared to that of trees
(Gordon 2002).
The Odyssey/
Sirens
No physical description either by
Circe or Odysseus.
The
Argonautika/
Sirens
“St. Goar:
Lorelei”/ Lorelei
Half bird, half maiden (Rhodious
174).
“Rus(s)alki”/
Rusalki
No bird like features; Northern tales
describe her as young and
appealing; Southern tales describe
her as mean and unattractive
(“Rus(s)alki” 236)
Actually fully human; black hair
rather than blond (“The Siren Wife”
456).
“The Siren
Wife”/Froth
Actually fully human, blond hair,
enchanting beauty (Ruland 2002).
Behavior/Personality Change
Can do no harm despite being
rejected by the prince. When commits
suicide, rescued by “daughters of the
air” as a reward for selflessness
(Anderson 2002).
Neither deceived nor outwitted by men
she tries to ensnare, successful every
time (Atwood 26-27).
Siren shares knowledge of all with
those who are good and thus capable
of seeing her (Forster 252). Can only
be seen underwater in the sea that is
too big to be blessed by the local
priest (Forster 249).
Successful huntress who keeps
animal pets to ease her loneliness.
Deceived by the human Hatupatu who
she finds in the forest and keeps
captive as a treasure (Gordon 2002).
Use seductive song to beguile sailors
and cause their death, but outwitted by
Odysseus who hears their song but
survives through Circe’s advice”
(Homer 193-94).
Use seductive song to “ruthlessly” lure
sailors to destruction, but outwitted by
Orpheus (Rhodious 174-75).
Portrayed as a “false enchantress”
whose eerie song lures men to their
destruction against the cliffs of the
Rhine river (Ruland 2002).
No luring song except on moonlit
nights, simply calls young men’s
names (“Rus(s)alki” 236)
Sing to seduce men (“The Siren Wife”
456). Described as greedy for jewels,
which proves a fatal weakness as the
mariner and his Siren Wife outwit the
Sirens by dragging jewels behind a
boat (“The Siren Wife” 458).
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“Undina”/Undina
Not a bird, but water spirit with a soul
(Zhukovsky 2002).
Temporarily appealing to the Knight;
takes life of The Knight only after
betrayed and only at the command of
her underwater family (Zhukovsky
2002).
Most of the European stories feature a physically attractive siren figure.
One encyclopedia entry suggested that an unattractive Rusalki figure exists
(“Rus(s)alki” 236) but no stories or pictures were found to elaborate on this harsh
looking creature. A full illustration located shows a pleasant Rusalki (“Rusalka”
2002). The Little Mermaid, Rusalki, and Undina are mermaids and resemble the
Greek Sirens the least in appearance. However, their watery homes and
interactions with men resemble their possible Greek Siren sisters. The physical
appearance of the Greek Sirens and Atwood’s sirens is marginally described.
The Greek stories suggest a creature consistent with those shown in period
artwork. Atwood’s version of the sirens seems informed by the Greek tales.
Scholars have speculated on the morphology of sirens. One scholar of
note, Beryl Rowland, wrote Birds with Human Souls: A Guide to Bird Symbolism.
In this work, Rowland suggests siren and mermaid stories blended around the
Middle Ages and have remained convoluted ever since (155). He also observes
that while appearances may differ between Homer’s sirens and the German
Lorelei, the motives of the sirens do not. Sirens use song to entice with the intent
of destruction (Rowland 155). Rowland discusses the possibility of the Church
appropriating the siren myth as a means of educational instruction, a warning to
men to resist the temptations of the flesh (156). Rowland himself, interprets the
siren as simply, “Composed of opposites, the siren is primarily a sexual fantasy:
she is beautiful and she is predatory” (156). In his earlier book Animals with
Human Faces: A Guide to Bird Symbolism, Rowland asserts that it was the
Roman Ovid who added the feathers to the description of the siren (140).
Other scholars argue that Homer told of a romanticized Siren that
conflicted with accounts already part of Greek mythology (Page 86). According
to Denys Page:
The Siren is not a beautiful female, but a bird with a human head.
It sings no enchanting melody, though it may croak a dirge for the
dead at the bidding of Pluto or Persephone. It lives not in a flowery
meadow on a remote island, but in the gloom of Hades. It does not
lure men to destruction; it waits (impatiently perhaps) until you die,
then escorts your soul (gently or violently) on its journey to the
underworld (86).
This description certainly lacks the implied sensuousness of the Homeric Siren,
and Page suggests for that reason the siren as temptress dominated folktales
(86). Ruth Berman also makes reference to the earlier interpretation of the siren
noting, “sirens frequently decorated classical tombs, and may have represented
the dead soul, or spirits which convey the soul to Hades” (148). So it seems the
siren figure began as something less sensuous and evolved into an irresistible
figure that slowly was given more pleasing physical features. The one feature
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that has never changed is that of the siren seeking to use her abilities to erode
the will of men.
Summary:
I think the siren figure has endured because it involves a classic struggle
between men and women. On the whole, the siren stories present one
stereotype of women: the beautiful but irresistible and destructive woman.
The men in the stories are primarily presented as the handsome hero who is
unfaithful. Thus the siren figure, knowing the nature of man, “turns the tables”
and uses her alluring song and beauty, or simply her ability as a huntress, to
seduce men and meet her own personal goals. As most of the stories show,
once the goal is met, it is never quite satisfying leaving the siren caught in an
endless loop.
The research project exposed me to a whole new world of literary
research, the world of fairytale, folklore, legend, and myth. This literary field has
its own indexing tools and endless numbers of resources both in print and online.
Using the tools required a brief period of orientation and locating the stories
definitely took patience, but was rather like a treasure hunt. Of greatest concern
was finding credible version of the story with clear story sources. This was not
always and easy task.
Many more siren like figures exist, and researching only English
translations surely omits an entire realm of stories. For example just a few siren
figure left unexplored were the French opera Sirènes (Berman 151), the
Javanese figure of praganagan (Page 87), and the Russian Paradise Bird Sirin
(Newall 187). A more in depth study would require tracing more than one version
of a particular culture’s tale and contrasting one version of the story against
another. In addition an examination of the culture would shed light on particular
nuances of the story. Overall, as a researcher, I enjoyed the challenge of
beginning to uncover the flight of the siren figure.
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Works Cited
Berman, Ruth. “Sirens.” Mythical and Fabulous Creatures: A Source Book and
Research Guide. Ed. Malcolm South. NY: Bedrick, 1987.
Dictionary of Literary Themes and Motifs. Ed. Jean-Charles Seigneuret. Vol. 2.
New York: Greenwood Press, 1988.
Dictionary of Mythology Folklore and Symbols. Ed. Gertrude Jobes. New York:
The Scarecrow Press, Inc., 1962.
Encyclopedia of Russian and Slavic Myth and Legend. Ed. Mike Dixon-Kennedy.
Santa Barbara, CA: ABC-CLIO, 1998.
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