Joyce's Sirens

     In order to thoroughly detail the correlation between the “Sirens” episode in Homer’s The Odyssey and the corresponding episode in Joyce’s Ulysses, I will first outline the major events in each sequence

     The section of Homer’s epic that focuses on Odysseus’ bout with the Sirens begins with his return to Circe’s island, Aiaia. During his trip to Hades, Odysseus was confronted by his fallen crewman, Elpenor. Elpenor was able to talk to Odysseus, because he had not been buried, and was able to tell Odysseus to go back so that he may continue on in his afterlife. Upon leaving Hades, Odysseus returned to Aiaia in order to bury Elpenor. While Circe treated Odysseus’ men to a feast, she pulled him aside and gave him a warning of the obstacles he would soon face on his voyage home. Circe made clear two separate dangers; she warned him of the island of the Sirens and of Scylla and Charibdis.  In her foretelling of his first danger she states, “First you will come to the Sirens, who enchant all men” (Homer, 12.39). She describes the drawing power of the Sirens, and how they pull ships into their jagged rocks. She explains how Odysseus and his men may survive the ordeal, “…soften honey-sweet wax and smear it in the ears of your companions…” (12.47). After Odysseus and his men are well rested, they return to their ship and on to their journey. Odysseus does not tell his men of Circe’s warning, waiting until he hears a heavenly sign for him to relay the message. Odysseus tells his men to plug their ears and, as Circe had instructed, to bind him to the mast so that he may hear the call of the Sirens. Odysseus tells his men to row on no matter what, and to only bind him tighter the harder he yells for freedom. His men comply, and they soon come upon the island of the Sirens. The calls entice Odysseus, convincing him that he had returned home, and that he need not travel on. He fell victim to their deceitful song. His men, however, continue on as instructed. They pass the island, and, when out of earshot, release Odysseus from the mast. The danger of the Siren’s song has been avoided, so they row on into their ominous future.

     Joyce’s section on the Sirens begins with a jumbling of seemingly random words. The sentences are choppy, and do not have any fluidity or meaning. These sentences, and brief excerpts, are from later in the chapter, and, as described by Stuart Gilbert, sound like “…the overtures of some operas and operettas, in which fragments of the leading themes and refrains are introduced” (243). The words and sounds of later in the passage help to establish the theme of sound and song. Before Bloom enters the scene, two Barmaids are being portrayed as loud temptress. Bloom watches as Boylan enters the Ormond Hotel Bar, follows him in, and stays for lunch. The Barmaids are now described as they snap their garter belts, and talk about sunbathing to a couple of drooling customers. Bloom watches Boylan for a few moments, while he drinks a beer and talks about Molly. Bloom worries that Boylan is about to have sex with Molly, but does nothing when Boylan leaves (to, in fact, have sex with Molly). While Bloom eats, Simon Dedalus, Bob Cowley and Ben Dollard play the organ and sing songs about love and war in When he is done, Bloom leaves the bar, passes the calls of a prostitute and passes gas in the open street.

     There are three major themes that can be found in both of these renditions of the Siren episode. The first of these is an emphasis on sound and song. Because the idea of the temptation of the Sirens stems from their dangerous song, much of the imagery in Joyce’s chapter symbolizes, and even alludes to music and sound. Repeated sound imagery was used to show Boylan’s seductive power, while Blooms gaseous piece in the end depicted well the lack of sexual power he controlled. Another strong theme in the novel is that of seduction as a formidable antagonist. While seduction has the ability to draw a person into love, both Homer and Joyce try to show that it can also lead to danger. By using images of the men singing songs of both love and war, and the Barmaids ridiculing the men (in the beginning) for not heeding their calls, show s the inherent dangers of seduction. The third is that of irresistible curiosity, and unfulfilling conclusions. The most important instance that represents this idea was when Bloom enters the bar to see what Boylan was doing. Bloom is curious, and hopeful, to see if Boylan was truly going to meet with Molly. Of course, Boylan leaves, thereby confirming Bloom’s fears, and leaving Bloom nothing he can do to stop it.

     Another, more direct correlation between the Siren chapter in Ulysses, and the corresponding section in The Odyssey is Joyce’s blatant use of Homeric imagery. Images like the Barmaids, as they “cowered under their reef of counter” (258), shows the strong symbol of the seducers drawing the victims into their life taking trap. This is so appropriate for this image, because alcohol is one of the greatest dangers for the Irish in Joyce’s novel, and the Sirens of this section are encouraging the men to stay at the bar by sexual seduction.

     Sexual imagery is the novel’s final connection with the poem. Though the Sirens’ song is never described by Homer as being sexual, the modern audience assumes that it was the power of the female sex that tempts the men to row toward the treacherous island. This interpretation of the text is reciprocated in Joyce’s novel through strong imagery, and obviously explicit descriptions. It was these descriptions (and more throughout the novel) that gained the book such disreputable acknowledgement. The description of the Barmaids slapping their thighs, accompanied by comments like,”…you’d burst the tympanum of her ear, man… with an organ like yours” (270), created a vivid portrayal of sex, and violence.

     There are many correlations between the Siren episode in Homer’s epic, and the corresponding chapter in Joyce’s Ulysses, but none as important, or apparent as that of seduction and death.

Work Cited

Cook, Albert. The Odyssey. New York: Norton, 1967.

A reliable translation of the epic, which includes criticisms by sixteen authors. This piece is valuable for reference and competently conveys the intended meaning of Homer’s original work. 

Gilbert, Stuart. James Joyce’s Ulysses. New York: Vintage, 1958.

An interesting analyzation of Joyce’s novel. It includes general critique, some relations to the epic, and brief analysis of theme and imagery.

Heubeck, Alfred and Hoekstra, Arie. A Commentary on Homer’s Odyssey. Oxford: Clarendon, 1989.

A brief look at Homer’s epic, comprised of notes and commentary on the text (does not include text). Reliable for summary and condensed interpretation of themes, imagery, and allusion. 

Joyce, James. Ulysses. New York: Vintage, 1966.

Actual text, without which there would be no analysis.

Thornton, Weldon. Allusions in Ulysses. Chapel Hill: U of North Carolina, 1968.

This priceless resource includes possible and confirmed allusions found throughout Joyce’s text. This reference chronicles Joyce’s every thought as he wanders through the great novel, and comments on almost every event, thought and situation.