Sunday 16.06.2019 at la Cepa Beach in Fuengirola, Malaga, Spain.

07:45 to 10:30 h. La Cepa Playa, in front of Hotel Florida and the carousel.

Readings from Ulysses – 9th year – Chapter nine.

Read in your own language. We are expecting readers in Spanish, German, Danish, English and Finnish so far this year.

Come and join us for this Annual Special event.

Bring your own copy of Ulysses in your own language.

The setting initially in the National Library, Dublin, takes place between 2-4 pm where Shakespeare’s plays are discussed at length with Mr John Eglinton, Mr Best, don’t you know, Buck Mulligan and Stephen Dedalus et al.

This event is free.

The Bloomsday Interview by Ger Sweeney, The Emerald Connection, with Roger Cummiskey.

Be a Joycean for a day.

Bloomsday Báñese en la playa

Episode 9, Scylla  and Charybodis

Between Scylla and Charybdis

Being between Scylla and Charybdis is an idiom deriving from Greek mythology, meaning “having to choose between two evils”. Several other idioms, such as “on the horns of a dilemma”, “between the devil and the deep blue sea“, and “between a rock and a hard place” express similar meanings.

The myth and the proverb

Scylla and Charybdis were mythical sea monsters noted by Homer; Greek mythology sited them on opposite sides of the Strait of Messina between Sicily and the Italian mainland. Scylla was rationalized as a rock shoal (described as a six-headed sea monster) on the Italian side of the strait and Charybdis was a whirlpool off the coast of Sicily. They were regarded as maritime hazards located close enough to each other that they posed an inescapable threat to passing sailors; avoiding Charybdis meant passing too close to Scylla and vice versa. According to Homer, Odysseus was forced to choose which monster to confront while passing through the strait; he opted to pass by Scylla and lose only a few sailors, rather than risk the loss of his entire ship in the whirlpool.

Because of such stories, having to navigate between the two hazards eventually entered idiomatic use. Another equivalent English seafaring phrase is, “Between a rock and a hard place”.^[1] The Latin line incidit in Scyllam cupiēns vītāre Charybdem (he runs into Scylla, wishing to avoid Charybdis) had earlier become proverbial, with a meaning much the same as jumping from the frying pan into the fire. Erasmus recorded it as an ancient proverb in his Adagia, although the earliest known instance is in the Alexandreis, a 12th-century Latin epic poem by Walter of Châtillon.^[2]

Cultural and popular references

Ulysses takes it’s structure from Homer’s Odyssey. Homer’s story spanned 10 years. Joyce concertinaed the story into one day Thursday, 16 June 1904.

The myth was given an allegorical interpretation by the French poet Barthélemy Aneau in his emblem book Picta Poesis (1552). There one is advised to choose the risk of being envied for wealth or reputation rather than swallowed by the Charybdis of poverty. “Choose the lesser of these evils. A wise man would rather be envied than miserable.”^[3]

The story was often applied to political situations at a later date. In James Gillray‘s cartoon, Britannia between Scylla and Charybdis (3 June 1793),^[4] ‘William Pitt helms the ship Constitution, containing an alarmed Britannia, between the rock of democracy (with the liberty cap on its summit) and the whirlpool of arbitrary power (in the shape of an inverted crown), to the distant haven of liberty’.^[5] This was in the context of the effect of the French Revolution on politics in Britain. That the dilemma had still to be resolved in the aftermath of the revolution is suggested by Percy Bysshe Shelley‘s returning to the idiom in his 1820 essay A Defence of Poetry: “The rich have become richer, and the poor have become poorer; and the vessel of the state is driven between the Scylla and Charybdis of anarchy and despotism.”^[6]

A later Punch caricature by John Tenniel, dated 10 October 1863, pictures the Prime Minister Lord Palmerston carefully steering the British ship of state between the perils of Scylla, a craggy rock in the form of a grim-visaged Abraham Lincoln, and Charybdis, a whirlpool which foams and froths into a likeness of Jefferson Davis. A shield emblazoned “Neutrality” hangs on the ship’s thwarts, referring to how Palmerston tried to maintain a strict impartiality towards both combatants in the American Civil War.^[7] American satirical magazine Puck also used the myth in a caricature by F. Graetz, dated November 26, 1884, in which the unmarried President-elect Grover Cleveland rows desperately between snarling monsters captioned “Mother-in-law” and “Office Seekers”.^[8]

Victor Hugo uses the equivalent French idiom (tomber de Charybde en Scylla) in his novel Les Miserables (1862), again in a political context, as a metaphor for the staging of two rebel barricades during the climactic uprising in Paris, around which the final events of the book culminate. The first chapter of the final volume is entitled “The Charybdis of the Faubourg Saint Antoine and the Scylla of the Faubourg du Temple”.

By the time of Nicholas Monsarrat‘s 1951 war novel, The Cruel Sea, however, the upper-class junior officer, Morell, is teased by his middle-class peer, Lockhart, for using such an old-fashioned phrase. Nevertheless, the idiom has since taken on new life in pop lyrics. In The Police‘s 1983 single “Wrapped Around Your Finger“, the second line uses it as a metaphor for being in a dangerous relationship; this is reinforced by a later mention of the similar idiom of “the devil and the deep blue sea”.^[9][10] American heavy metal band Trivium also referenced the idiom in “Torn Between Scylla and Charybdis”, a track from their 2008 album Shogun, in which the lyrics are about having to choose “between death and doom”.^[11]

In 2014 Graham Waterhouse composed a piano quartet, Skylla and Charybdis, premiered at the Gasteig in Munich. According to his programme note, though its four movements “do not refer specifically to the protagonists or to events connected with the famous legend”, their dynamic is linked subjectively to images connected with it “conjoured up in the composer’s mind during the writing”.^[12]