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The poem "Orpheus and Eurydice" in The Consolation of Philosophy by Boethius (523 AD) Sir Orfeo , an anonymous narrative poem (c. late thirteenth or early fourteenth century) The Tale of Orpheus and Erudices his Quene , a poem by Robert Henryson (c.1470)
The Tale of Orpheus and Erudices his Quene is a poem by the Scottish Northern Renaissance poet Robert Henryson that adapts and develops the Greek myth which most famously appears in two classic Latin texts, the Metamorphoses of Ovid and the Georgics of Virgil. Jacopo del Sellaio, Orpheus and Eurydice, c.1480
Very similar to Orpheus of myth is the quality of singing and playing on a stringed instrument that Sir Orfeo exhibits. His wife, like Eurydice, showed loyalty by resisting advances. In the myth, Orpheus goes marching down to Tartarus to ask for Eurydice back while Sir Orfeo exiles himself for ten years until he chances a glimpse of his wife.
The content of the sonnets is, as is typical of Rilke, highly metaphorical. The work is based on the myth of Orpheus and Eurydice. The character of Orpheus (whom Rilke refers to as the "god with the lyre" [10]) appears several times in the cycle, as do other mythical characters such as Daphne.
Orpheus's mother taught him to make verses for singing. He is also said to have studied in Egypt. [56] Orpheus is said to have established the worship of Hecate in Aegina. [57] In Laconia Orpheus is said to have brought the worship of Demeter Chthonia [58] and that of the Κόρες Σωτείρας (Kóres Sōteíras; 'Saviour Maidens').
Sir Orfeo, a Middle English Romance poem from the late 13th or early 14th century, inspired by the Orpheus and Eurydice tale. Orpheus and Eurydice, a Middle Scots poem by Robert Henryson. "Orpheus. Eurydice. Hermes." (1904), a poem retelling the journey from the underworld by Rainer Maria Rilke "Eurydice" (1917), a feminist retelling of the ...
The longest poem is his Morall Fabillis, a tight, intricately structured set of thirteen fable stories in a cycle that runs just short of 3000 lines. Two other long works survive, both a little over 600 lines each. One is The Tale of Orpheus and Erudices his Quene, his dynamic and inventive version of the Orpheus story.
Orpheus’ backwards glance merely confirms the absence that defines his desire and poetic impulse. In this moment of inspiration, when Orpheus gazes at Eurydice, he loses her—she disappears into the work’s inability to attain the fullness of being. The work of art intensifies and accomplishes loss rather than redeems it.