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n. Greek Mythology
A goddess who turned Odysseus's men temporarily into swine but later gave him directions for their journey home.

Cir′ce·an (sûr′sē-ən, sər-sē′ən) adj.
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As when a Ship by skilful Stearsman wrought Nigh Rivers mouth or Foreland, where the Wind Veres oft, as oft so steers, and shifts her Saile; So varied hee, and of his tortuous Traine Curld many a wanton wreath in sight of EVE, To lure her Eye; shee busied heard the sound Of rusling Leaves, but minded not, as us'd To such disport before her through the Field, From every Beast, more duteous at her call, Then at CIRCEAN call the Herd disguis'd.
That Duessa has a Circean nature is suggested for instance in the episode in which by the power of her magic, Duessa transforms Fradubio into a tree (cf.
As in the Circean gardens of Armida and Alcina, the promise of satisfaction held out in the moment of enchantment is later deluded by an unveiling: the text is nothing but a painted whore" (Spackman, 1989: 28).
100) Shakespeare portrays France as a Circean sorceress whose spells transform ('juggle') Englishmen into 'unmanly' and 'ridiculous' jokes.
79) which loosely translates Ovid's "Aeaea uenefica' or Circean potion (Amores, 3.
Hence, Backus labels the "climax" of the novel: "it is Bloom who will wield scandal fragments so as to protect Joyce/ Stephen from moral martyrdom and lead him safely out of the Circean labyrinth.
La Canizares refers to the mythographic roots of "El casamiento enganoso" when she recalls her own unbelief in the reputedly Circean powers of La Camacha, who is another realist version of the enchantress:
Being Good Versus Looking Good: Business Schools Rankings and the Circean Transformation from Substance to Image.
On the contrary, there is something Circean and siren-like about Orlando's luring her sea-captain down by the luminescence of her pearls.
Succumbing to the youth's "blossoming rod of beauty" (28), he's aware that the boy's eyes, "immeasurably still" (47), speak of "inner lassitude and sheer vacuity of soul" (50), yet he "careless[ly], drinkfs] their cool, Circean sorcery" (52).
In these films, and the Circean scene, the mind (represented by the head) is literarily, and comically, separated from the body, once again--probably unintentionally --reflecting Bergson's comedy of mind/body dislocation; humour can be found in the headless bodies robotically going about their business without human heads (and therefore minds) to guide them.