Orpheus Gönderileri
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1. 
İntihar Dükkanı
2. 
Orpheus & Eurydice
3. 
Orpheus
4. 
Tales of Valhalla
5. 
The Homeric Hymns
6. 
A Dream of John Ball
7. 
Kesişen Yazgılar Şatosu
8. 
Maurice
9. 
The World of European Mythology
10. 
Orfeia
11. 
They Both Die at the End
12. 
Lysistrata
13. 
On Liberty
14. 
Zacharius Usta
15. 
Two Legends: Oedipus and Theseus
16. 
Yakıcı Sır
17. 
Greek Myths
The myth of Orpheus is the myth of the ultimate seriousness of art. It is the myth of art's total engagement with love, beauty, and the order and harmony of nature—all under the sign of death. It is the myth of the artist's magic, of his courage for the dark, desperate plunge into the depths of the heart and of the world, and of his hope and need to return to tell the rest of us of his journey.
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The myth of Orpheus seems most successful when it is not reduced to one or two of its elements (for example, love and death only) but expresses man's attempt to see his life in a twofold perspective, that is, as part of nature and as unique in its emotional and intellectual consciousness. In this respect the myth brings together man's capacity for love and his capacity to deal with loss and death through the expressive power of art.
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Shakespeare's Orpheus reflects this confident assumption that knowledge is ancient, noble, and poetical. Orpheus becomes a hyperbolic figure for the limitless power of language, conquering not just tigers but whales as well. This Orpheus' lute
was strung with poet's sinews;
Whose golden touch could soften steel and stones.
Make tigers tame and huge leviathans
Forsake unsounded deeps to dance on sands,
After your dire lamenting elegies...
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Boccaccio uses Ovid's story of Apollo rescuing the head from the threatening serpent as an allegory of the posthumous fame of the artist: his work lives on after his death to defeat all-devouring time.
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Even as early as the fifth century B.C., Orpheus served as a symbol for the persuasive power of poetry over death. But Rilke abandons that one-dimensional meaning of the Orpheus myth for a more complex vision. His Orpheus is a symbol of process rather than fixity, a locus where irreconcilable, and therefore tragic, oppositions meet. The power of language that he symbolizes is not merely language as magical persuasion but language reaching toward transcendence while yet not denying its ground in the time, death, and suffering of language users, mortals.
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The Sonnets to Orpheus are not a random collection of poems. Rilke composed them, as he tells us, in a single rush of inspiration sustained over
a period of some three weeks. "They came up and entrusted themselves
to me," he wrote, "the most enigmatic dictation I have ever held through and achieved. The whole first part was written down in a single breathless act of obedience, between the 2nd and the 5th of February [1922], without one word being doubtful or having to be changed."
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For Rilke, however, death is the other side of life, complementary rather than contradictory. His setting at the beginning of the poem is a landscape of passage between worlds, a "mine of souls" that shifts between animate and inanimate, between "veins" of rock and veins of blood.
That was the so unfathomed mine of souls.
And they, like silent veins of silver ore,
were winding through its darkness. Between roots
welled up the blood that flows on to mankind,
like blocks of heavy porphyry in the darkness.
Else there was nothing red.
(Orpheus. Eurydike. Hermes, stanza 1)
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Rilke's refocusing of the myth on the subjective side of experience, on the potential delusiveness and illusoriness of the realm of "shades" and shadows, is certainly one of the main departures from classical poetry. The classical poet does not doubt his ability to convey the actuality of the journey. Rilke's shifting light, ambiguous images, unstable point of view (especially in his last stanza) express a more hesitant relation between language and reality. In changing the focus from Orpheus to Eurydice, Rilke also moves from exterior to interior realms and thereby depicts the otherness, the unreachableness, of
death and the dead.
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Following Virgil and Ovid, Rilke dwells on the failure of Orpheus. But he shifts its meaning from Orpheus himself to Eurydice. The "new virginity" of the Maiden wedded to Death symbolizes an inward, subjective dimension of existence. This lies on the other side of life; and the poet, with all the intrusive energy and power of his art, is unable to reach, perhaps unable even fully to comprehend it.
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The task of the poet, as Rilke put it in his famous letter to the Polish translator of his Duino Elegies, is to transform the visible, phenomenal world into an “ invisible" spiritual intensity, fullness, and meaningfulness. This process takes many forms. In the Duino Elegies it informs a movement from despair at being heard by the angels in the first Elegy to the power to “ speak" of the things in this world in the Ninth.
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The most important poetic realization of the myth of Orpheus in the literature of the twentieth century occurs in the work of Rainer Maria Rilke. Rilke's Orpheus bears traces of the archaic shamanistic figure who crosses between the living and the dead. He is also a magician, a wonder-worker in words, transfiguring external reality by sounds. The first of the Sonnets to Orpheus describes his power over nature; the last speaks of his magic (Zauberkmft [Sonnets z.zg}). Rilke himself practices the incantatory power of Orphic song-music in the untranslatable rhythms of Sonnets 1.6.
Kundiger boge die Zweige der Weiden
wer die Wurzeln der Weiden erfuhr.
More knowing would he bend the willows' branches
who has experienced the willows' roots.
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It is one of the paradoxes of Ovid's style and Ovid's world view that
he can humanize his mythical material through exaggerating the nonhuman, fantastic elements of his tales to the point of grotesqueness. This paradox is a corollary of that pointed out by Otis, that the fanciful, Alexandrian, erotic mythology contains a kind of humane seriousness and an ultimate symbolical truth -a truth, that is, to the constants of human nature—that Ovid could not find in the contemporary, historical, Augustan mythology. In human terms, Ovid finds the remote, fairy-tale myths "truer" and more "real" than the contemporary myths of Augustan ideology.
Ovid's Orpheus exemplifies not only the victory of love but also, in a certain sense, the victory of art. It is both as poet and as lover that Orpheus wins over the deities in the underworld of book 10. Though the Ciconian women finally destroy him, the power of his song temporarily neutralizes their missiles, and his rhythms move the natural world to spontaneous sympathy for his fate (Mef. 11.44-49)
Ovid draws Orpheus himself in more human terms. He emphasizes not tragic furor but the strength of his love. He also gives his hero a fuller private life. Ovid's Orpheus does not merely reject women, as Virgil's figure does, but turns instead to homosexual love affairs (Met. 10.83-85). Hence Ovid breaks down the finality of Virgil's tale, as is to be expected in his carmen perpetuum. The metamorphoses allows the erotic life of Orpheus to continue, albeit on a path different from before.