This image is in the public domain because it contains materials that originally came from the Agricultural Research Service, the research agency of the United States Department of Agriculture.
Wednesday, May 18, 2011
Fire Ants
Fire Ants
This image is in the public domain because it contains materials that originally came from the Agricultural Research Service, the research agency of the United States Department of Agriculture.
This image is in the public domain because it contains materials that originally came from the Agricultural Research Service, the research agency of the United States Department of Agriculture.
Wednesday, April 6, 2011
Films: Alpha and Omega (2010)
Films: Alpha and Omega (2010)
| Directed by | Ben Gluck, Anthony Bell |
| Produced by | Richard Rich, Ken Katsumoto |
| Written by | Chris Denk, Steve Moore |
| Starring | Justin Long, Hayden Panettiere, Dennis Hopper, Danny Glover, Christina Ricci |
| Music by | Chris P. Bacon |
| Editing by | Scott Anderson |
| Studio | Crest Animation Productions |
| Distributed by | Lionsgate (USA/UK), Metropolitan Filmexport (France) |
| Release date(s) | September 17, 2010 |
| Running time | 88 minutes |
| Country | United States |
| Language | English |
| Budget | $20 million |
Monday, March 28, 2011
Where: USA Today: 10 great places to see animals in the w...
USA Today: 10 great places to see animals in the wild
College students aren't the only ones on the move for spring break. Animals are migrating now, too, which makes it a perfect time to see them in parks and refuges. "They're becoming more active. It's a good time to go," says Mark Wexler, editor of National Wildlife, the magazine of the National Wildlife Federation, which celebrates its 75th anniversary this year. There's always an element of chance involved, but you're almost guaranteed an animal sighting at some locations. Wexler shares favorite spots with Larry Bleiberg for USA TODAY.
College students aren't the only ones on the move for spring break. Animals are migrating now, too, which makes it a perfect time to see them in parks and refuges. "They're becoming more active. It's a good time to go," says Mark Wexler, editor of National Wildlife, the magazine of the National Wildlife Federation, which celebrates its 75th anniversary this year. There's always an element of chance involved, but you're almost guaranteed an animal sighting at some locations. Wexler shares favorite spots with Larry Bleiberg for USA TODAY.
Monday, October 25, 2010
The (King's) fame riding Pegasus
The (King's) fame riding Pegasus
From Wikimedia Commons http://commons.wikimedia.org
From Life http://joeungul1.blogspot.com/
| Artist | Antoine Coysevox (1640–1720) |
| Description | English: The (King's) fame riding Pegasus. Français : La renommée (du roi) chevauchant Pégase. |
| Date | 1702 |
| Medium | Carrara marble |
| Dimensions | Height: 315 cm (124 in). Width: 291 cm (114.6 in). Depth: 128 cm (50.4 in). |
| Current location | Louvre Museum Department of Sculptures, Richelieu, loxer ground floor, Cour Marly |
| Accession number | MR 1824 |
| Object history | English: Commissioned in 1699 for the decoration of the park of Marly, transfered in 1719 to the entrance to the Tuileries Garden, replaced in 1986 by copies Français : Commandé en 1699 pour la décoration du parc de Marly, transféré en 1719 à l'entrée du jardin des Tuileries, remplacées en 1986 par des copies. |
| Credit line | From the Tuileries Garden, 1986; restored with the aid of the Pari Mutuel Urbain, 2004-2006 (patron) |
| Source/Photographer | Jebulon (2010) |
| Licensing | This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or less. |
From Wikimedia Commons http://commons.wikimedia.org
From Life http://joeungul1.blogspot.com/
Friday, September 3, 2010
Scottish Shapeshifting
Scottish mythology features shapeshifters and the ability allow's the various creature to trick, deceive, hunt, and kill humans. Tales are abound about the Selkie as a seal that can remove its skin to make contact with humans for only a short amount of time before they must return to the sea. Such stories surrounding these creatures are usually romantic tragedies. Clan MacColdrum of Uist foundation myths include of a union between the founder of the clan and a shapeshifting seal woman Selkie. While other tales include Kelpies who emerge from lochs and rivers to ensnare and kill unweary travellers in the disguise of a horse or woman. While other tales include Tam Lin, a man captured by the Queen of the Fairies who is changed into all manner of beasts if rescued. He was finally turned into a burning coal and thrown him into a well, whereupon he reappeared in his human form. The motif of capturing a person by holding him through all forms of transformation is a common thread in folktales. While modern Scottish literature as in the Strange Case of Dr Jekyll and Mr Hyde explores human transformation and the moral implications of changing ones shape.
http://en.wikipedia.org/wiki/Shapeshifting
Shapeshifting | Science fiction themes | Fantasy tropes
 |
| The Kelpie by Herbert James Draper: transformed into a human. |
http://en.wikipedia.org/wiki/Shapeshifting
Shapeshifting | Science fiction themes | Fantasy tropes
Thursday, July 1, 2010
Tsaofu (造父)
Tsao Fu (造父)
Alternative Names (異名):
造父, zào fù, Tsao Fu
Tsao Fu (traditional: 造父, simplified: 造父 pinyin: zào fù), in ancient Chinese Mythology, was an exceptionally skilled charioteer, who is said to have lived around 950 B.C.
The Chinese tell the story of the Emperor Mu Wang, who was determined to visit paradise. He wanted to taste the peaches of immortality there. He found a very brave charioteer named Tsao Fu, who drove eight amazing horses with great skill. Tsao Fu was afraid of nothing—he carried the emperor across the Earth and into the heavens. The emperor finally reached Mount K’uen Lun and tasted the peaches of immortality. His brave charioteer Tsao Fu was carried up to the stars, where both he and his eight horses can be seen among the stars of the constellation Cepheus. The star Zeta Cephei is specifically named after him.
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
http://en.wikipedia.org/wiki/Portal:Mythology
China stubs | Chinese mythology | Chinese legendary creatures
Alternative Names (異名):
造父, zào fù, Tsao Fu
Tsao Fu (traditional: 造父, simplified: 造父 pinyin: zào fù), in ancient Chinese Mythology, was an exceptionally skilled charioteer, who is said to have lived around 950 B.C.
The Chinese tell the story of the Emperor Mu Wang, who was determined to visit paradise. He wanted to taste the peaches of immortality there. He found a very brave charioteer named Tsao Fu, who drove eight amazing horses with great skill. Tsao Fu was afraid of nothing—he carried the emperor across the Earth and into the heavens. The emperor finally reached Mount K’uen Lun and tasted the peaches of immortality. His brave charioteer Tsao Fu was carried up to the stars, where both he and his eight horses can be seen among the stars of the constellation Cepheus. The star Zeta Cephei is specifically named after him.
http://en.wikipedia.org/wiki/Chinese_mythology
http://en.wikipedia.org/wiki/Category:Chinese_mythology
http://en.wikipedia.org/wiki/Portal:Mythology
China stubs | Chinese mythology | Chinese legendary creatures
Wednesday, May 19, 2010
Siren
Siren
In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were three dangerous bird-women, portrayed as seductresses who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on an island called Sirenum scopuli. In some later, rationalized traditions the literal geography of the "flowery" island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.
When the Sirens were given a parentage they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon (the Earth; in Euripides' Helen 167, Helen in her anguish calls upon "Winged maidens, daughters of the Earth"). Although they lured mariners, for the Greeks the Sirens in their "meadow starred with flowers" were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys.
Their number is variously reported as between two and five. In the Odyssey, Homer says nothing of their origin or names, but gives the number of the Sirens as two. Later writers mention both their names and number: some state that there were three, Peisinoe, Aglaope, and Thelxiepeia (Tzetzes, ad Lycophron 7l2) or Parthenope, Ligeia, and Leucosia (Eustathius, loc. cit.; Strabo v. §246, 252 ; Servius' commentary on Virgil's Georgics iv. 562); Eustathius (Commentaries §1709) states that they were two, Aglaopheme and Thelxiepeia. Their individual names are variously rendered in the later sources as Thelxiepeia/Thelxiope/Thelxinoe, Molpe, Aglaophonos/Aglaope/Aglaopheme, Pisinoe/Peisinoë/Peisithoe, Parthenope, Ligeia, Leucosia, Raidne, and Teles.
The Sirens of Greek mythology are sometimes portrayed in later folklore as fully aquatic and mermaid-like; the facts that in Spanish, French, Italian, Polish, Romanian and Portuguese the word for mermaid is respectively Sirena, Sirène, Sirena, Syrena, Sirenă and Sereia, and that in biology the Sirenia comprise an order of fully aquatic mammals that includes the dugong and manatee, add to the visual confusion, so that Sirens are even represented as mermaids. However, "the sirens, though they sing to mariners, are not sea-maidens," Harrison had cautioned; "they dwell on an island in a flowery meadow."
Sirens and death
According to Ovid (Metamorphoses V, 551), the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad result. Later writers have inferred that the Sirens were anthropophagous, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones."
As Jane Ellen Harrison notes of " The Ker as siren:" "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh." For the matter of the siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,
Once he hears to his heart's content, sails on, a wiser man.
We know all the pains that the Greeks and Trojans once endured
on the spreading plain of Troy when the gods willed it so—
all that comes to pass on the fertile earth, we know it all!
"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future," Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death." That the sailors' flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide for their visitors, who starved to death by refusing to leave.
according to hyginus, sirens were fated to live only till the mortals who heard their songs failed to pass
Appearance
Sirens combine women and birds in various ways. In early Greek art Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The tenth century Byzantine encyclopedia Suda says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces. Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.
The first century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces." In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."
In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."
The so-called "Siren of Canosa" accompanied the deceased among grave goods in a burial and seems to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet and the wings and tail of a bird. It is conserved in the National Archaeological Museum of Spain, in Madrid.
Encounters with the Sirens
In Argonautica (4.891-919), Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite.
Odysseus was curious as to what the Sirens sounded like, so, on Circe's advice, he had all his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.
Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished. It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.
Christian belief
By the fourth century, when pagan beliefs gave way to Christianity, belief in literal sirens was discouraged. Although Jerome, who produced the Latin Vulgate version of the Scriptures, used the word "sirens" to translate Hebrew tenim (jackals) in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth.
Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of Woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death." Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.
The Early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from Isidore's Etymologiae. "They [the Greeks] imagine that 'there were three Sirens, part virgins, part birds,' with wings and claws. 'One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. 31. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them.' They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus."
Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable." John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. [The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favours the explanation given of the fable by Damm. This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land.]"
Such euhemerist interpretations have been abandoned since the later 19th century, in favour of analyses of Greek mythology in terms of historical Greek social structure and their cultural system, and the Greek taxonomy of the spiritual world.
Links and References
http://en.wikipedia.org/wiki/Siren
Theoi Project, Seirenes the Sirens in classical literature and art
The Suda (Byzantine Encyclopedia) on the Sirens
Characters in the Odyssey | Greek mythology | Greek legendary creatures | Legendary creatures in popular culture | Music in Greek mythology | Mythological hybrids | Water spirits
In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were three dangerous bird-women, portrayed as seductresses who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on an island called Sirenum scopuli. In some later, rationalized traditions the literal geography of the "flowery" island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.
When the Sirens were given a parentage they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon (the Earth; in Euripides' Helen 167, Helen in her anguish calls upon "Winged maidens, daughters of the Earth"). Although they lured mariners, for the Greeks the Sirens in their "meadow starred with flowers" were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys.
Their number is variously reported as between two and five. In the Odyssey, Homer says nothing of their origin or names, but gives the number of the Sirens as two. Later writers mention both their names and number: some state that there were three, Peisinoe, Aglaope, and Thelxiepeia (Tzetzes, ad Lycophron 7l2) or Parthenope, Ligeia, and Leucosia (Eustathius, loc. cit.; Strabo v. §246, 252 ; Servius' commentary on Virgil's Georgics iv. 562); Eustathius (Commentaries §1709) states that they were two, Aglaopheme and Thelxiepeia. Their individual names are variously rendered in the later sources as Thelxiepeia/Thelxiope/Thelxinoe, Molpe, Aglaophonos/Aglaope/Aglaopheme, Pisinoe/Peisinoë/Peisithoe, Parthenope, Ligeia, Leucosia, Raidne, and Teles.
The Sirens of Greek mythology are sometimes portrayed in later folklore as fully aquatic and mermaid-like; the facts that in Spanish, French, Italian, Polish, Romanian and Portuguese the word for mermaid is respectively Sirena, Sirène, Sirena, Syrena, Sirenă and Sereia, and that in biology the Sirenia comprise an order of fully aquatic mammals that includes the dugong and manatee, add to the visual confusion, so that Sirens are even represented as mermaids. However, "the sirens, though they sing to mariners, are not sea-maidens," Harrison had cautioned; "they dwell on an island in a flowery meadow."
Sirens and death
The Siren,
by John William Waterhouse (circa 1900)
According to Ovid (Metamorphoses V, 551), the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad result. Later writers have inferred that the Sirens were anthropophagous, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones."
As Jane Ellen Harrison notes of " The Ker as siren:" "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh." For the matter of the siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,
Once he hears to his heart's content, sails on, a wiser man.
We know all the pains that the Greeks and Trojans once endured
on the spreading plain of Troy when the gods willed it so—
all that comes to pass on the fertile earth, we know it all!
"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future," Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death." That the sailors' flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide for their visitors, who starved to death by refusing to leave.
according to hyginus, sirens were fated to live only till the mortals who heard their songs failed to pass
Appearance
Sirens combine women and birds in various ways. In early Greek art Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The tenth century Byzantine encyclopedia Suda says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces. Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.
The first century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces." In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."
In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."
The so-called "Siren of Canosa" accompanied the deceased among grave goods in a burial and seems to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet and the wings and tail of a bird. It is conserved in the National Archaeological Museum of Spain, in Madrid.
Encounters with the Sirens
In Argonautica (4.891-919), Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite.
Odysseus was curious as to what the Sirens sounded like, so, on Circe's advice, he had all his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.
Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished. It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.
Christian belief
By the fourth century, when pagan beliefs gave way to Christianity, belief in literal sirens was discouraged. Although Jerome, who produced the Latin Vulgate version of the Scriptures, used the word "sirens" to translate Hebrew tenim (jackals) in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth.
Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of Woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death." Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.
The Early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from Isidore's Etymologiae. "They [the Greeks] imagine that 'there were three Sirens, part virgins, part birds,' with wings and claws. 'One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. 31. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them.' They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus."
Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable." John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. [The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favours the explanation given of the fable by Damm. This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land.]"
Such euhemerist interpretations have been abandoned since the later 19th century, in favour of analyses of Greek mythology in terms of historical Greek social structure and their cultural system, and the Greek taxonomy of the spiritual world.
Ulysses and the Sirens
by H.J. Draper
Links and References
http://en.wikipedia.org/wiki/Siren
Theoi Project, Seirenes the Sirens in classical literature and art
The Suda (Byzantine Encyclopedia) on the Sirens
Characters in the Odyssey | Greek mythology | Greek legendary creatures | Legendary creatures in popular culture | Music in Greek mythology | Mythological hybrids | Water spirits
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