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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 Picozzi 2 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. Picozzi 3 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. Picozzi 4 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. Picozzi 5 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. Picozzi 6 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. Picozzi 7 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 Picozzi 8 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. Picozzi 9 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). Picozzi 10 “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 Picozzi 11 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. Picozzi 12 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. Hudson Book of Poetry: 150 Poems Worth Reading. 2001. McGraw-Hill Higher Education. 26 June 2002. http://www.mhhe.com/catalogs/007248442x.mhtml Index to Fairy Tales, Myths, and Legends. Ed. Mary Huse Eastman. Boston: The F.W. Faxon Company, 1937. Index to Fairy Tales, 1949-1972: Including Folklore, Legends and Myths. Ed. Norma Olin Ireland. Westwood, MA: The F.W. Faxon Company, 1973. Index to Fairy Tales, 1987-1992. Comp. Joseph W. Sprug. Metuchen, NJ: The Scarecrow Press, Inc., 1994. Newall, Venetia. Animals in Folklore. Ed. J.R. Porter and W.M. S. Russell. Cambridge, Great Britain: D.S. Brewer Ltd. And Rowman and Littlefield, 1978. Page, Denys Lionel. Folktales in Homer’s Odyssey. Cambridge: U of Harvard P, 1973. Rowland, Beryl. Animals with Human Faces: A Guide to Bird Symbolism. Knoxville: U of Tennessee P, 1973. Rowland, Beryl. Birds with Human Souls: A Guide to Bird Symbolism. Knoxville: U of Tennessee P, 1978. “Rusalka.” 13 Jan. 1998. University of Pittsburgh. 23 June. 2002. http://clover.slavic.pitt.edu/~tales/images/rusalki1.html [Siren Sculpture.] 11 Feb. 2002. The Picture Gallery: Women in Greek Myths. 23 June 2002. http://www.paleothea.com/Pictures/SculptedSiren.jpg Picozzi 13 Thompson, Stith. Motif-Index of Folk-Literature. 6 vols. Bloomington, Indiana: Indiana UP, 1955.