Siren Song Analysis

Some people have one inanimate object in their lives that they find so enticing that they are incapable of withstanding. One object that lures them into a deep trap not giving them any chance to resist. In Margaret Atwood’s “Siren Song” as well as Homer’s The Odyssey the one inanimate object all men cannot seem to resist is a Siren calling them in. In “Siren Song” we see a portrayal of this irresistible lure by one Siren’s song as merely a taunting boredom, while in The Odyssey the Siren is seen as a toxic desire. Both these poems portray these characteristics of the Siren through point of view, tone, and imagery.

The sirens in both texts have different views on the song and how it allures people. They describe what it does to people who come in close proximity of the song.

The characterization in The Siren song is subtle, yet creates apparent characters with specific desires and goals. Without knowing the true facts of a siren, the poem specifies that the siren has a sinister secret to unveil to someone. They are willing to barter this secret for their freedom from a particular island, surrounded by other cruel beings like them. They would like to sing them a song, one that has sent others to their deaths. If you know the true nature of the sirens, you would likely know that these hopes and desires are all to create the illusion of someone to save, instead of someone who would bring you to your immediate. Their goal is to tempt you into throwing yourself overboard to hear their “secrets.”

Although having pride in yourself may be a positive in moderation, being too proud of oneself will lead to nothing. Many who look down on others will never learn from their peers, and will only boast of their own achievements. In the poems from “The Odyssey Book 12” by Homer and “Siren Song” by Margaret Atwood, both authors write of Odysseus’ struggle regarding the Sirens. Sirens are half-woman, half-bird creatures who use their music to tempt sailors to shipwreck on islands or to jump off the boat to their death. They call out to him on his journey back home, trying to get him to come to them. The Sirens sing of his great accomplishments, and use flattery to lure him out. These poems show that arrogance and vanity will get one nowhere.

The tone of the poem changes as the poem progresses. The poem begins with energetic language like “full of heroic tales” and “by a mere swing to his shoulder”. The composer also uses hyperboles like “My father began as a god” and “lifted me to heaven”. The use of this positive language indicates to the responder that the composer is longing for those days – he is nostalgic. It also highlights the perspective of a typical child. The language used in the middle of the poem is highly critical of his father: “A foolish small old man”. This highlights the perspective of a typical teenager and signifies that they have generally conflicting views. The language used in the last section of the poem is more loving and emotional than the rest: “...revealing virtues such as honesty, generosity, integrity”. This draws attention to a mature adult’s perspective.

After centuries of serving as background noise to her husband Ulysses’ odes of sea storms, sirens, and celebrity, the mythological Penelope finally steps into the light in Miriam Waddington’s poem “Ulysses Embroidered” (1992). Functioning as a revisionary text to both the Alfred, Lord Tennyson work “Ulysses” (1833) and The Odyssey itself, “Ulysses Embroidered” quickly strikes its readers as a fiercely feminist re-envisioning of Penelope and her tale. Waddington’s work permits an age-old legend to be told in a bold new way with a female lead, but to what end does the feminist adjustment remark on Tennyson’s work? By both reading against the grain and “constantly [engaging] in

One of the things that is so fascinating about poetry is that it allows readers to discover and sometimes challenge and channel their emotions as well as their understanding. A poem’s words as well as its structure can reveal many things to its intended audience. In “Myth” by Natasha Trethewey, the poems form is just as important as the words she writes, becoming a map for the journey Trethewey takes, using transitions to take us from one place to another. The nature of the poem therefor becomes multifaceted, as it encourages the reader to think about the speaker’s words and use of form and structure she uses to craft this epic story. Using form as a tool, Trethewey is able to use structure as a way to guide us as readers and the speaker across the conscious and unconscious thoughts and dreams the speaker faces in this story.

In stanza six, we see the end of visiting hour, and the persona’s loss of control as he is overran with emotion. The phrase, “black figure in her white cave” creates an image of an intruder in her sanctuary. The black and white contrast suggests he is a shadow of his former self and also that he is trying to detach himself. The phrase, “clumsily rises” gives connotations of his state as he is physically affected by his feeling of loss. Furthermore, “swimming waves of a bell” is a metaphor which has connotations of water. This is used to illustrate that he is drowning in the realisation that she is dying. Finally, “fruitless fruits” is an oxymoron used to reinforce that there is no hope or going back, for her.

In all three works of art, the epic poem (The Odyssey), Atwood’s poem (“Siren Song”), and Waterhouse’s Ulysses & The Sirens, all portray the Sirens differently by the author's tone. Waterhouse uses art to set the dramatic and threatening tone while The Odyssey uses poetry to set the dramatic tone. The tone of Atwood’s poem depicts the Sirens as being mischievous yet bored.

The characters in Greek Mythology have multiple interpretations. Among these characters include the dangerous, yet gorgeous Sirens, bird-women who sit on a cliff singing bewitching songs that captivate the minds of innocent travelers and entice them to their deaths. In Homer’s The Odyssey and Margaret Atwood’s “Siren Song,” both poets provide different representations of the Sirens. Homer portrays the Sirens as irresistible in order to establish men as heroes, whereas Atwood depicts them as unsightly and pathetic so she can prove men are foolish and arrogant using imagery, diction, and point of view.

           Atwood's siren speaks not only of the destructive nature of her song, but also of the unhappiness that the role of the siren brings her. She says, "Shall I tell you the secret / and if I do, will you get me / out of this bird suit," (ll 10-12), expressing her discomfort as the siren-like entity. The "bird suit" she mentions is not actually an form of physical attire, as it was for the mythological siren, but rather the mask of the siren that she

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

Borrowing from German mythology, the poem “Lorelei” begins to exhibit Plath’s fascination with death (Aird 23). Water imagery, rooted in her childhood on the Atlantic ocean, plays a tremendous role in Plath’s poetry. The last years with her father still alive were spent near water (Steve nson, 9-10). The river in the poem symbolizes both the childhood she wishes to recapture and an escape from the life she now leads. The sirens rise up from the bottom of the river, “their limbs ponderous / With richness, hair heavier / Than sculpted marble” (Plath C. 22). They sing hypnotically, making silver promises of a

Through close analysis there are signs of hope Mariana instills in us for both her fate and the return of her lover. In the first stanza on line 6, it is described that ‘unlifted was the clinking latch’ emphasizing her hope for his return, and in the second stanza on line 8, when she ‘glanced athwart the glooming flats,’ although the use of ‘glooming’ is a morbid foreshadowing, Mariana watches her surroundings as if she is waiting for a soldier to return from the battlefield and into her open arms. But as Mariana deteriorates and hope fails her, so does the language in the poem. In the sixth stanza between lines 6 and 8, Mariana descends into madness as her house becomes haunted by ‘old faces, glimmer’d thro’ the doors, /old footsteps, trod the upper floors, /old voices call’d her from without.’ The use of past tense with ‘glimmer’d’ and ‘call’d’ signifies that Marianna is still living in the past, as her libido flows backwards. She remembers happier times because she is haunted, and the psychological reversions as well as physical deterioration move in parallel order, creating overwhelming sense of degeneration and loss. In the last stanza, ‘the sparrow’s chirrup on the roof, /the slow clock ticking,’ this first and second line stood out. ‘The sparrow’ is symbolic because it is a sign of impending death, in Christian symbolism the sparrow was seen as offering

The themes of both poems show the complete mental consumption of the voice’s. Their pre-dominative behaviour appears to emerge from perverted good values. The paranoid voice of a woman, angered with her supposed cheating husband runs throughout the duration of ‘Medusa,’ seeming to grow in anger as it meets every line. In addition, Carol Ann Duffy creates an extended metaphor of this women’s transformation into the monstrous character ‘Medusa,’ using members present in Greek mythology, in order to paint a metaphorical juxtaposition of a once beautiful woman, now a hideous ‘gorgon’ due to the impact of detrimental human emotion. Detrimental emotion being, as shown by the phrase: ‘My brides breath soured, stank,’ with the use of sensory imagery demonstrating how a slight ‘suspicion’ has taken hold of the voice. Moreover, this build-up and outpour of the slight ‘suspicion’ and emotion over the poem suggests that the voice has succumbed to and has allowed herself