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Inhabiting what the ancients considered the fringes of the civilized world, associated with the barbarian Thracians as much as with the Greeks, Orpheus embodies something of the strangeness of poetry in the world, the mystery of its power over us, and the troubling intrusiveness of its sympathy for the emotions that we cannot always afford.
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On the one hand, Orpheus embodies the ability of art, poetry, language—"rhetoric and music"—to triumph over death; the creative power of art allies itself with the creative power of love. On the other hand, the myth can symbolize the failure of art before the ultimate necessity, death.
Poetry itself, through its identification with a singerhero who suffers, dies, and is reborn, participates in the diurnal (and by metonymy the seasonal) alternation of life and death. The pattern is a very old one. It can be traced back to the shepherd-kings and singers of the ancient Near East such as Tammuz, Enkidu, and David and then recurs with a more self-conscious reference to the power of poetry and art, in figures like the dying Daphnis of Theocritus' First Idyll or the dead and resurrected Daphnis of Virgil's Fifth Eclogue.
"No longer, Orpheus, will you lead the oaks under your spell nor the rocks nor the herds of beasts that obey their own laws. No longer will you put to sleep the roar of the winds nor the hail nor the swirl of snowflakes nor the crashing sea. For you have perished, and the Muses, daughters of Memory, have wept over you, and most of all your mother, Calliope. Why do we wail over sons who have died when not even the gods have the power to keep Hades from their children?"
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A homosexual Orpheus perhaps reflects a view of art as pure "artifice," defying the laws of natural reproduction. This relation between art and nature is what one would expect of the Hellenistic poets, with their stress on the importance and independence of art and their programmatic selfconsciousness about artifice as an essential component of art.
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"The ancient wisdom of the Greeks, as seems likely, was wholly given over to music. Because of this they judged Apollo the most musical and most skilful of the gods, and Orpheus the most musical and skilful of the demigods."
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In Euripides's Alcestis, Orpheus' rescue of Eurydice from the underworld is a paradigm for Heracles' rescue of the heroine from Death.
Admetus cites the myth as an example of persuasion triumphant over death.
If I had Orpheus' tongue and song so that I could by song charm (kelein) either Demeter's daugher (Persephone) or her husband and take you forth from Hades, I would have descended there, and neither Pluto's dog nor Charon at his oar, ferryman of dead souls, would have held me back until I had set your life once more into the light. Therefore await me there until I die and prepare a house where
we may share our dwelling. (357-364)
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But Orpheus' sufferings are not due entirely to Aristaeus. He too is expiating a wrong of sorts that he has committed. Indeed, that part of his own nature which is active, restless, demanding, is the cause of his deepest unhappiness.
Ovid may be taking a special delight in filling the Virgilian outline with a spirit that directly challenges the lofty, tragic style that Virgil created for the Roman epic. As he does later in the story of Aeneas in book 14, Ovid challenges Virgil on his own ground, with his own material. In the Orpheus episode, it is not only the heroic style and the solemnity of tragic suffering and conflict that draw his fire, but also the self-importance of sacrifice and devotion to vast, transcendent purposes. Ovid continues a direction in Roman literature firmly established by Catullus and continued by Horace (or one side of Horace) and the elegists. Here the individual voices his claims to privacy, autonomy, and even to inactivity and directionlessness.
...Ovid is a poet in revolt. The revolt is subtle, and its weapons are wit and irony; but it is none the less real, as Augustus seems to have recognized when he exiled the poet to Tomi. As Leo Curran has written, Ovid recognized the "fluidity, the breaking down of boundaries, lack of restraint, the imminent potentiality of reversion to chaos, the uncontrollable variety of nature, the unruliness of human passion, sexual and personal freedom, and hedonism ." He seeks to vindicate individual sentiment and the individual emotional life. He is aware of the chaos to which the passions may lead. And yet erotic love is not all destructive furor, as it tends to be in Virgil. Rather, it has a valid place in a world where the person runs the risk of being crushed by a vast, impersonal order. That risk, already subtly and fleetingly hinted at by Virgil, is far more ominous in Ovid.