Siren. In Greek mythology, the Sirens were dangerous creatures, who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands 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. According to the Greek Neoplatonist philosopher Proclus, Plato said there were three kinds of sirens: the celestial, the generative, and the purificatory / cathartic. The first were under the government of Zeus, the second under that of Poseidon, and the third of Hades. When the soul is in heaven the sirens seek, by harmonic motion, to unite it to the divine life of the celestial host; and when in Hades, to conform the soul to eternal infernal regimen; but when on earth their only job to produce generation, of which the sea is emblematic. The etymology of the name is at present contested. Robert S. P. Beekes has suggested a Pre-Greek origin. e. one who binds or entangles through magic song. This could be connected to the famous scene of Odysseus being bound to the mast of his ship, in order to resist their song. Sirens were believed to 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 and lyres. The tenth-century Byzantine encyclopedia Suda says that from their chests up, Sirens had the form of sparrows, and 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. Originally, Sirens were shown to be male or female, but the male Siren disappeared from art around fifth century BC. 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. Although a Sophocles fragment makes Phorcys their father, when Sirens are named, they are usually as daughters of the river god Achelous, with Terpsichore, Melpomene, Calliope or Sterope. In Euripides' play, Helen, Helen in her anguish calls upon Winged maidens, daughters of the Earth. Although they lured mariners, the Greeks portrayed the Sirens in their meadow starred with flowers and not as sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys. Sirens are found in many Greek stories, notably in Homer's Odyssey. Their number is variously reported as from two to 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 or Parthenope, Ligeia, and Leucosia; Apollonius followed Hesiod gives their names as Thelxinoe, Molpe, and Aglaophonos; Suidas gives their names as Thelxiepeia, Peisinoe, and Ligeia; Hyginus gives the number of the Sirens as four: Teles, Raidne, Molpe, and Thelxiope; Eustathius states that they were two, Aglaopheme and Thelxiepeia; an ancient vase painting attests the two names as Himerope and Thelxiepeia.