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As Arthur Wallace writes: "As a literary composition for chorus dithyramb was the creation of Arion of Corinth," [2] His fame was established in antiquity, and Herodotus says "Arion was second to none of the lyre-players in his time and was also the first man we know of to compose and name the dithyramb and teach it in Corinth". [3]
Rainer Maria Rilke's Sonnets to Orpheus (1922) are based on the Orpheus myth. Poul Anderson's Hugo Award-winning novelette "Goat Song", published in 1972, is a retelling of the story of Orpheus in a science fiction setting. Some feminist interpretations of the myth give Eurydice greater weight.
In Greek mythology: Amphion learned music from Hermes and then with a golden lyre built Thebes by moving the stones into place with the sound of his playing; Orpheus, the master-musician and lyre-player, played so magically that he could soothe wild beasts; the Orphic creation myths have Rhea "playing on a brazen drum, and compelling man's ...
The earliest reference to the word "lyre" is the Mycenaean Greek ru-ra-ta-e, meaning "lyrists" and written in the Linear B script. [5] In classical Greek, the word "lyre" could either refer specifically to an amateur instrument, which is a smaller version of the professional cithara and eastern-Aegean barbiton, or "lyre" can refer generally to all three instruments as a family. [6]
In Greek mythology, the legend of Orpheus and Eurydice (Greek: Ὀρφεύς, Εὐρυδίκη, romanized: Orpheus, Eurydikē) concerns the fateful love of Orpheus of Thrace for the beautiful Eurydice. Orpheus was the son of Oeagrus and the muse Calliope.
Erato is the Muse of lyric poetry, particularly erotic poetry, and mimic imitation. In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she has mostly been shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument often associated with Apollo. [2]
Sometimes those vases bear inscriptions, and on a few the hunter is identified as Tithonus, while the lyre-player is Cephalus. [109] Perhaps the earliest representation of this theme is found on a red-figure rhyton , a statuette-vase, from circa 480-470 BC in which Eos is depicted carrying of a naked boy, perhaps Cephalus, her wings spread and ...
However, the portrayal of the musician singing and playing the lyre fits the earlier Timotheus. Dryden appears to merge the two, referring to "his breathing flute / And sounding lyre". He is also mentioned in Alexander Pope's poem An Essay on Criticism, in which "Timotheus' varied lays surprise", so that "the world's Victor stood subdued by sound."