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Summary of Orpheus and Eurydice. PR in ancient mythology

Summary of Orpheus and Eurydice. PR in ancient mythology

23.06.2020

On a libretto (in Italian) by Raniero da Calzabidgi, based on Greek mythology.

Characters:

ORFEUS, singer (contralto or tenor)
EURYDICE, his wife (soprano)
AMUR, god of love (soprano)
BLESSED SHADOW (soprano)

Time of action: mythical antiquity.
Location: Greece and Hades.
First production: Vienna, Burgtheater, October 5, 1762; staging of the second edition (in French), to a libretto by P.-L. Molina: Paris, Royal Academy of Music, August 2, 1774.

Orpheus was the greatest musician in Greek mythology. Indeed, he was so great that a whole religion arose - Orphism, and Orpheus was worshiped as a god already about twenty-five centuries ago. Therefore, his story has always seemed very natural for opera. Indeed, the earliest operatic score that has come down to us is based on the story of Orpheus. This is Eurydice by Jacopo Peri. It dates from about 1600, and shortly after that several more operas about Orpheus were written. Composers of the 18th and 19th centuries continued to refer to this character; one of the newest authors can be named Darius Milho.

But the only operatic version of this story that can be heard today is Gluck's Orpheus and Eurydice. By the way, this is the earliest opera traditionally performed in modern theaters, and it dates back to 1762. On October 5 this year, the composer conducted its premiere in Vienna. Then it was in Italian, and the role of Orpheus was played by Gaetano Guadagni, a castrato, that is, a male viola. The opera was later staged in France, where castrati were not accepted on stage, and Gluck rewrote this part for tenor. But in our time (except for productions in France), as a rule, the Italian version is given, and the role of Orpheus is played by the contralto - that is, naturally, the female contralto.

Gluck and his librettist, Raniero da Calzabidgi, have omitted many of the details of the Orpheus myth, with the result that not much action takes place on stage. But on the other hand, we are gifted with many choral numbers (especially in the first act), as well as numerous ballet inserts. Due to the lack of action, this opera loses almost nothing in concert performance, and also retains its merits better than others in audio recording.

ACT I

Orpheus has just lost his beautiful wife, Eurydice, and the opera begins (after a rather cheerful overture) in the grotto in front of her tomb. First, accompanied by a choir of nymphs and shepherds, and then alone, he bitterly mourns her death. Finally, he decides to bring her back from the underworld. He intends to take possession of Hades, armed only with tears, inspiration and lyre. But the gods took pity on him. Cupid, this little god of love (that is, Eros, or Cupid) tells him that he can go down to the underworld. “If the tender lyre is a delight, if your melodious voice subdue the wrath of the lords of this fatal darkness,” Amur assures Orpheus, “you will lead her out of the gloomy abyss of hell.” Orpheus needs to fulfill only one condition: not to turn around and not cast a single glance at Eurydice until he brings her, unharmed, back to earth. This is exactly the condition that Orpheus - he knows about it - will find the most difficult to fulfill, and he prays to the gods for help. At this moment, the sound of drums depicts thunder, lightning flashes - this is how the beginning of his dangerous journey is marked.

ACT II

The second act takes us to the underworld - Hades - where Orpheus first defeats the Furies (or Eumenides), and then receives his wife Eurydice from the hands of the Blessed Shadows. The chorus of the Furies is dramatic and terrifying, but gradually, as Orpheus plays the lyre and sings, they soften. This is extremely simple music, it perfectly conveys the drama of what is happening. The rhythmic pattern of this episode appears more than once in the opera. Finally, the Furies dance a ballet that Gluck had composed a little earlier to represent Don Juan's descent into hell.

Elysium is a beautiful realm of Blissful shadows. The scene, at first dimly lit, as if by the morning dawn, is gradually filled with morning light. Eurydice appears, sad, with a wandering look; she yearns for her missing friend. After Eurydice retires, Blissful shadows gradually fill the scene; they walk in groups. All this is the well-known "Dance (Gavotte) of Blessed Shadows" with its extraordinarily expressive flute solo. After Orpheus leaves with the Furies, Eurydice sings with the Blessed Shadows about their quiet life in Elysium (the heavenly afterlife of bliss). After they disappear, Orpheus reappears. He is alone and now sings of the beauty that has appeared to his eyes: “Che puro ciel! che chiaro sol!" (“Oh, radiant, marvelous view!”). The orchestra enthusiastically plays a hymn to the beauties of nature. Attracted by his singing, the Blessed Shadows return again (their chorus sounds, but they themselves are still invisible). But now a small group of these Blissful shadows brings Eurydice, whose face is covered with a veil. One of the Shadows connects the hands of Orpheus and Eurydice and removes the veil from Eurydice. Eurydice, recognizing her husband, wants to express her delight to him, but the Shadow gave a sign to Orpheus so that he would not turn his head. Orpheus, walking in front of Eurydice and holding her hand, climbs her along the path at the back of the stage, heading towards the exit from Elysium. At the same time, he does not turn his head to her, remembering well the condition set for him by the gods.

ACT III

The last act begins with Orpheus leading his wife back to earth through a rocky landscape of gloomy passages, winding paths, dangerously overhanging cliffs. Eurydice knows nothing about the fact that the gods forbade Orpheus even a glimpse of her before they reached the earth. While they are moving like this, Eurydice is gradually transformed from the Blissful shadow (which she was in the second act) into a real living woman with a hot temperament. She, not understanding the reasons for this behavior of Orpheus, bitterly complains about how indifferently he now treats her. She addresses him now tenderly, now enthusiastically, now with bewilderment, now with despair; she grabs Orpheus by the hand, trying to draw attention to herself: “Just give me one look ...” she pleads. Does Orpheus no longer love his Eurydice? And while Orpheus convinces her otherwise and complains to the gods, she becomes more and more insistent. In the end, she tries to drive him away: “No, go away! It’s better for me to die again and forget you ... ”At this dramatic moment, their voices merge. And now Orpheus challenges the gods. He turns his gaze to Eurydice and embraces her. And the moment he touches her, she dies. The most famous moment in the opera comes - the aria "Che faro senza Euridice?" ("I lost Eurydice"). In desperation, Orpheus wants to commit suicide with a dagger, but at the last moment, the little god of love, Cupid, appears to him. He stops Orpheus in this desperate impulse of his and passionately calls out: "Eurydice, rise again." Eurydice, as it were, wakes up from a deep sleep. The gods, says Cupid, are so amazed by the loyalty of Orpheus that they decided to reward him.

The final scene of the opera, which takes place in the Temple of Amur, is a series of solos, choirs and dances in praise of love. This is a much happier ending than what we know from mythology. According to the myth, Eurydice remains dead, and Orpheus is torn to pieces by the Thracian women in indignation that, selflessly indulging in sweet sorrow, he neglected them. The eighteenth century, however, preferred happy endings to its tragic operas.

Henry W. Simon (translated by A. Maykapar)

With the contralto (castrato) singer Gaetano Guadagni in the title role, the "performance" was a complete success, although it was not without negative assessments - perhaps because of the performance, which Gluck himself found unsatisfactory. The score was soon printed in Paris - a testament to the high importance attached to the opera by French culture. In Italy, the opera was first staged in a revised form in 1769 at the Court of Parma as part of a triptych entitled "Feasts of Apollo". In 1774, it was the turn of the Parisian production: a new poetic text in French, the addition of vocal, dance and instrumental episodes, as well as new touches that made the orchestration even more magnificent.

The highlights of the Paris production were two new instrumental numbers: the Dance of Furies and Ghosts in Hell and the Dance of Blissful Souls in Elysium. The first dance is borrowed from the ballet Don Juan, staged by Gluck in 1761, which, thanks to the choreographic findings of Jean-Georges Noverre, can be considered a dramatic masterpiece of its kind. The dance of the furies goes back to a scene from Rameau's Castor and Pollux, the content of which, however, was much more ironic, while in Gluck this episode is distinguished by a frightening, unbridled, grandiose power, and in it Tasso's "hell trumpet" sounds like an imperious warning , penetrating into all nooks and crannies of the stage. This fragment, showing a strikingly bold combination of contrasts, adjoins the scene of the dance of blissful souls, as if in a dream evoking the lightest, sweetest memories of our ancestral home. In this feminine atmosphere, the noble outlines of the flute melody come to life, sometimes timid, sometimes impetuous, depicting the peace of Eurydice. Orpheus is also struck by this picture and sings a hymn full of sounds, uplifting nature with its running waters, the chirping of birds and the fluttering of the breeze. Hidden melancholy is spilled in the picture created by the famous singer, covered with a gentle haze of love feelings. It is a pity that in Paris the contralto was replaced by the tenor, which is not able to rise to such sublime, magical spheres. For the same reason, that pure beauty was lost, which permeated the famous aria of Orpheus “I lost Eurydice”, regarded by many because of her C major as more suitable for depicting jubilation than suffering, as a formal mistake. However, this criticism is unfair. Orpheus could express his indignation at the cruel condition in this aria, but he makes an effort of will to maintain himself at the height of his duty, to preserve his own dignity. In addition, the figurations and sequence of intervals lend tenderness to the melody. This just shows the spiritual confusion of Orpheus, his restless desire for the one that, it would seem, is no longer destined to return. him with reproaches almost in the tradition of comic opera. But a flashing ray of light will still lead the opera to a happy ending. A premonition of such an end was given to us in the first act by the playful advice of Cupid, who, being the voice of the heart, will lead Orpheus through the sad land of Eurydice (here the echo of Rameau's Castor and Pollux is heard again), repeal the laws of the afterlife and give him the gift of the gods.

G. Marchesi (translated by E. Greceanii)

History of creation

The ancient story about the devoted love of Orpheus and Eurydice is one of the most common in the opera. Before Gluck, it was used in the works of Peri, Caccini, Monteverdi, Landi and a number of minor authors. Gluck interpreted and embodied it in a new way. Gluck's reform, first implemented in the Orpheus, was prepared by many years of creative experience, work in the largest European theaters; rich, flexible craftsmanship, improved over decades, he was able to put at the service of his idea of \u200b\u200bcreating a sublime tragedy.

The composer found an ardent like-minded person in the person of the poet Raniero Calzabidgi (1714-1795). Of the numerous versions of the legend of Orpheus, the librettist chose the one set forth in Virgil's Georgics. In it, ancient heroes appear in majestic and touching simplicity, endowed with feelings accessible to an ordinary mortal. This choice reflected a protest against the false pathos, rhetoric and pretentiousness of feudal-noble art.

In the first edition of the opera, shown on October 5, 1762 in Vienna, Gluck has not yet completely freed himself from the traditions of ceremonial performances - the part of Orpheus is entrusted to the viola castrato, the decorative role of Cupid is introduced; the ending of the opera, contrary to myth, turned out to be happy. The second edition, shown in Paris on August 2, 1774, differed significantly from the first. The text was rewritten by de Molina. The party of Orpheus became more expressive, more natural; it was expanded and given to the tenor. The scene in hell ended with the finale music from the ballet Don Giovanni; the famous flute solo, known in concert practice as Gluck's Melody, was introduced into the music of the "blissful shadows".

In 1859 Gluck's opera was revived by Berlioz. Orpheus was played by Pauline Viardot. Since then, there has been a tradition of performing the title part by the singer.

Music

Orpheus is rightly considered the masterpiece of Gluck's musical and dramatic genius. In this opera, for the first time, music is so organically subordinated to dramatic development. Recitatives, arias, pantomimes, choirs, dances fully reveal their meaning in connection with the action unfolding on the stage, and, combined, give the whole work an amazing harmony and stylistic unity.

The opera's overture is musically unrelated to the action; according to the existing tradition, it is sustained in a lively movement, a cheerful character.

The first act is a monumental mourning fresco. The sound of funeral choirs is majestic and sad. Against their background, the lamentations of Orpheus, full of passionate grief, arise. In the solo episode of Orpheus, the expressive melody "Where are you, my love", sustained in the spirit of lamento (plaintive lamentations), is repeated three times with an echo. It is interrupted by dramatic invocative recitatives, which, like an echo, are echoed by the orchestra offstage. Two of Cupid's arias (one of them was written for a Parisian production) are graceful and beautiful, but have little connection with the dramatic situation. Playful grace captivates the second aria "Heaven's command to fulfill haste", sustained in the rhythm of the minuet. At the end of the act there is a turning point. The final recitative and the aria of Orpheus are of a strong-willed impetuous character, asserting heroic features in it.

The second act, the most innovative in conception and implementation, falls into two contrasting parts. In the first, the choirs of spirits sound terrifyingly menacing, performed in unison with trombones - instruments first introduced to the opera orchestra in the Paris edition of Orpheus. Along with sharp harmonies, "fatal" rhythm, the impression of horror is called upon to produce the glissando of the orchestra - depicting the barking of Cerberus. Rapid passages, sharp accents accompany the demonic dances of the furies. All this is opposed by the gentle aria of Orpheus to the accompaniment of a lyre (harp and strings behind the scenes) “I conjure, I beg, have pity, have pity on me.” The elegiacly colored smooth melody becomes more and more excited, more active, the singer's request is more insistent. The second half of the act is designed in light pastoral colors. The flute tunes of the oboe, the quiet flowing sound of the violins, the light transparent orchestration convey the mood of complete tranquility. The expressive melancholic melody of the flute is one of the remarkable revelations of Gluck's musical genius.

The disturbing impetuous music of the introduction to the third act depicts a gloomy fantastic landscape. The duet "Believe the tender passion of Orpheus" receives a tense dramatic development. The despair of Eurydice, her excitement, woeful lamentations are conveyed in the aria "O ill-fated fate." The grief of Orpheus, the sadness of loneliness are captured in the famous aria "I lost Eurydice." The opera ends with a ballet suite and a jubilant choir, where Orpheus, Cupid, Eurydice act as soloists, alternating.

M. Druskin

Gluck's reformist opera provoked the famous controversy between the Picchinists and the Gluckists (after the second edition of the opera was performed in Paris in 1774). The composer's attempts to overcome the traditions of the opera seria (contrasting the aria's recitative with its conditional feelings, cold embellishment), his desire to subordinate the musical material to the logic of dramatic development did not immediately find understanding among the public. However, the success of subsequent works ends this debate in Gluck's favor. In Russia, it was first performed in 1782 (by an Italian troupe), the 1st Russian production in 1867 (Petersburg). A significant event was the performance of 1911 at the Mariinsky Theater (dir. Meyerhold, dir. Napravnik, choreography by M. Fokine, designer A. Golovin, title parts performed by Sobinov, Kuznetsova-Benoit). Among modern productions, we note the Parisian performance of 1973 (Hedda as Orpheus, directed by R. Clair, choreography by J. Balanchine), Kupfer's work at the Komische-Opera (1988, J. Kowalski in the main role).

Discography: CD-EMI. Dir. Gardiner, Orpheus (von Otter), Eurydice (Hendricks), Cupid (Fournier).

Orpheus, the great singer, the son of the river god Eagra and the muse of chants Calliope, lived in Thrace. His wife was the tender and beautiful nymph Eurydice. Once, when Eurydice and her nymph friends were picking flowers in a green valley, they were ambushed by a snake hiding in thick grass and stung Orpheus's wife in the leg. The poison quickly spread and ended her life. Then Orpheus decided to go to the realm of the dead to see Eurydice there. To do this, he descends to the sacred river Styx, where the souls of the dead have accumulated, whom the carrier Charon sends on a boat to the possessions of Hades.

At first, Charon refused Orpheus's request to smuggle him. But then Orpheus played on his golden cithara and charmed the gloomy Charon with wonderful music. And he transported him to the throne of the god of death Hades. Then Orpheus stated his request to Hades to return his wife Eurydice to earth. Hades agreed to fulfill it, but at the same time he stated his condition: Orpheus must follow the god Hermes, and Eurydice will follow him. During the journey through the underworld, Orpheus should not look back: otherwise, Eurydice will leave him forever.

Quickly passing the kingdom of Hades, the travelers reached the River Styx, where Charon ferried them on his boat to a path leading steeply up to the surface of the earth. The path was cluttered with stones, darkness reigned around, and the figure of Hermes loomed ahead and the light barely dawned, which indicated the proximity of the exit. At this moment, Orpheus was seized by a deep anxiety for Eurydice: whether she was keeping up with him, whether she was behind, whether she was lost in the dusk. Finally, unable to stand it and violating the ban, he turned around: almost next to him he saw the shadow of Eurydice, stretched out his hands to her, but at the same moment the shadow melted into the darkness. So he had to re-experience the death of Eurydice. And this time it was my own fault.

Terrified, Orpheus decides to return to the shores of the Styx, re-enter the kingdom of Hades and pray to God to return his beloved wife. But this time, the prayers of Orpheus no longer touched the old Charon.

Four years have passed since the death of Eurydice, but Orpheus remained faithful to her, not wanting to marry any of the women. Once, in early spring, he sat down on a high hill, picked up a golden cithara and sang. All nature listened to the great singer. At this time, Bacchantes, possessed by rage, appeared, celebrating the holiday of the god of wine and fun, Bacchus. Noticing Orpheus, they rushed at him shouting: "Here he is, a hater of women." In a frenzy, the Bacchantes surround the singer and shower him with stones. Having killed Orpheus, they tear his body apart, tear off the head of the singer and, together with his cithara, throw him into the fast waters of the Hebra River. The soul of Orpheus descends into the realm of shadows, where the great singer meets his own, Eurydice. Since then, their shadows have been inseparable. Together they wander through the gloomy fields of the realm of the dead.

Orpheus is one of the most mysterious figures in world history, about which there is very little information that can be called reliable, but at the same time there are a lot of myths, fairy tales, and legends. Today it is difficult to imagine world history and culture without Greek temples, without classical examples of sculpture, without Pythagoras and Plato, without Heraclitus and Hesiod, without Aeschylus and Euripides. In all this are the roots of what we now call science, art, and culture in general. If we turn to the origins, then the entire world culture is based on Greek culture, the impulse for development that Orpheus brought: these are the canons of art, the laws of architecture, the laws of music, etc. Orpheus appears at a very difficult time for the history of Greece: people plunged into a semi-wild state, the cult of physical strength, the cult of Bacchus, the most base and gross manifestations.

At this moment, and this was about 5 thousand years ago, the figure of a man appears, whom legends called the son of Apollo, blinding his physical and spiritual beauty. Orpheus - his name is translated as "healing with light" ("aur" - light, "rfe" - to heal). In myths, he is told about him as the son of Apollo, from whom he receives his instrument, a 7-string lyre, to which he subsequently added 2 more strings, making it an instrument of 9 muses. (muses as nine perfect forces of the soul, leading along the path and with the help of which this path can be passed. According to another version, he was the son of the king of Thrace and the muse Calliope, the muse of epic and heroic poetry. According to myths, Orpheus participated in the journey of the Argonauts for the Golden Fleece, helping out your friends during trials.

One of the most famous myths is the myth of the love of Orpheus and Eurydice. Beloved of Orpheus, Eurydice dies, her soul goes to the underworld to Hades, and Orpheus, driven by the power of love for his beloved, descends after her. But when the goal had already seemed to have been achieved, and he was supposed to connect with Eurydice, he was overcome by doubts. Orpheus turns around and loses his beloved, great love unites them only in heaven. Eurydice represents the divine soul of Orpheus, with whom he unites after death.

Orpheus continues the struggle against the lunar cults, against the cult of Bacchus, he dies torn to pieces by the Bacchantes. The myth also says that the head of Orpheus prophesied for some time, and it was one of the most ancient oracles of Greece. Orpheus sacrifices himself and dies, but before his death he accomplished the work that he must accomplish: he brings light to people, heals with light, brings an impulse for a new religion and a new culture. A new culture and religion, the revival of Greece, is born in the hardest struggle. At the moment when brute physical strength dominated, one comes who brings the religion of purity, beautiful asceticism, the religion of high ethics and morality, which served as a counterbalance.

The teachings and religion of the Orphics brought the most beautiful hymns, through which the priests conveyed the grains of Orpheus's wisdom, the doctrine of the Muses, helping people through their sacraments, discover new powers in themselves. Homer, Hesiod and Heraclitus relied on the teachings of Orpheus, Pythagoras became a follower of the Orphic religion, who became the founder of the Pythagorean school as a revival of the Orphic religion in a new capacity. Thanks to Orpheus, the mysteries are reborn in Greece again - in the two centers of Eleusis and Delphi.

Eleusis or "the place where the goddess came" is associated with the myth of Demeter and Persephone. The essence of the Eleusinian mysteries in the mysteries of purification and rebirth, they were based on the passage of the soul through trials.

Another component of the religion of Orpheus is the mysteries at Delphi. Delphi, as a combination of Dionysus and Apollo, represented the harmony of opposites that the Orphic religion carried in itself. Apollo, characterizing the order, the proportionality of everything, gives the basic laws and principles for the construction of everything, the construction of cities, temples. And Dionysus, as the other side, as the deity of constant change, constant overcoming of all emerging obstacles. The Dionysian principle in a person is a constant inexhaustible enthusiasm, which makes it possible to constantly move, strive for something new, and the Apollonian principle strives at the same time for harmony, clarity and proportion. These two beginnings were united in the Delphic temple. The holidays that took place in it were associated with the combination of these two principles. In this temple, on behalf of Apollo, the soothsayers of the Delphic oracle, the Pythia, speak.

Orpheus brought the doctrine of the muses, the nine forces of the human soul, which appear in the form of 9 most beautiful muses. Each of them has its own component as a principle, like notes in divine music. The muse of history is Clio, the muse of oratory and hymns is Polyhymnia, the muse of comedy and tragedy is Thalia and Melpomene, the muse of music is Euterpe, the muse of the vault of heaven is Urania, the muse of divine dance is Terpsichore, the muse of love is Erato, and the muse of heroic poetry.

The teaching of Orpheus is the teaching of light, purity and great boundless love, it was received by all mankind, and every person inherited part of the light of Orpheus. This is a gift from the gods that lives in the soul of each of us. And through it you can comprehend everything: both the forces of the soul hidden inside, and Apollo and Dionysus, the divine harmony of the beautiful muses. Maybe this is what will give a person a feeling of real life, filled with inspiration and the light of love.

The myth of Eurydice and Orpheus

In Greek myths, Orpheus finds Eurydice and with the power of his love even touches the heart of the lord of hell Hades, who allows him to bring Eurydice out of the underworld, but on the condition that if he turns around and looks at her before Eurydice comes out into the light of day, he will lose her forever. And in the drama, Orpheus loses Eurydice, cannot stand and look at her, she disappears and his whole remaining life passes in hopeless grief.

In fact, the end of this story is different. Yes, the great heavenly Love of Orpheus aroused compassion in the heart of Hades. But he does not lose Eurydice. The heart of the underworld denotes the sacraments. Orpheus finds Eurydice, because he is approaching the mysteries of heaven, the mysteries of Nature, the secret. And every time he tries to look at her, Eurydice runs away from him - like the Star of the Magi appears to show the way, and then disappears to wait for the person to reach the distances that she showed him.

Eurydice goes to heaven and inspires Orpheus from heaven. And every time when Orpheus, through his beautiful music, inspired, approaches the sky, he meets Eurydice. If he is too attached to the earth, Eurydice cannot sink so low, and this is the reason for their separation. The closer he is to heaven, the closer he is to Eurydice.

Orpheus about Eurydice

At this time, the Bacchantes had already begun to bewitch Eurydice with their charms, trying to seize her will.

Attracted by some vague premonition to the valley of Hekate, I once walked among the thick grasses of the meadow and all around reigned the horror of the dark forests frequented by the Bacchae. saw Eurydice. She walked slowly, not seeing me, heading towards the cave. Eurydice stopped, indecisive, and then resumed her way, as if impelled by magical power, closer and closer to the mouth of hell. But I discerned the sleeping sky in her eyes. I called her, I took her by the hand, I called out to her: “Eurydice! Where are you going? As if awakened from a dream, she let out a cry of horror and, freed from the spell, fell on my chest. And then the Divine Eros conquered us, we exchanged glances, so Eurydice - Orpheus became spouses forever.

But the Bacchantes did not reconcile themselves, and one day one of them offered Eurydice a cup of wine, promising that if she drinks it, the science of magical herbs and love drinks will be revealed to her. Eurydice, in a fit of curiosity, drank it and fell down, as if struck by lightning. The cup contained a deadly poison.

When I saw the body of Eurydice burned at the stake, when the last traces of her living flesh had disappeared, I asked myself: where is her soul? And I went in inexpressible despair. I wandered all over Greece. I prayed to the priests of Samothrace to summon her soul. I searched for this soul in the bowels of the earth and everywhere I could penetrate, but in vain. In the end, I came to the Trophonian cave.

There, the priests lead the brave visitor through a fissure to fiery lakes that boil in the bowels of the earth and show him what is happening in these bowels. Penetrating to the end and seeing what no mouth should utter, I returned to the cave and fell into a lethargic sleep. During this dream, Eurydice appeared to me and said: “For my sake, you were not afraid of hell, you were looking for me among the dead. I heard your voice, I came. I live on the edge of both worlds and cry just like you. If you want to free me, save Greece and give her light. And then my wings will be returned to me, and I will rise to the luminaries, and you will find me again in the bright region of the Gods. Until then, I must wander in the kingdom of darkness, disturbing and mournful ... "

Three times I wanted to grab her, three times she disappeared from my arms. I heard a sound like a broken string, and then a voice, faint as a breath, sad as a farewell kiss, whispered, “Orpheus!!”

At that sound, I woke up. This name, given to me by her soul, transformed my whole being. I felt the sacred thrill of infinite desire and the power of superhuman love penetrate me. A living Eurydice would give me the bliss of happiness, a dead Eurydice would lead me to the truth. Out of love for her, I put on linen garments and achieved great initiation and the life of an ascetic. Out of love for her, I penetrated the secrets of magic and the depths of divine science; out of love for her, I passed through the caves of Samothrace, through the wells of the Pyramids, and through the tombs of Egypt. I penetrated into the bowels of the earth to find life in it. And on the other side of life, I saw the edges of the worlds, I saw souls, luminous spheres, the ether of the Gods. The earth opened before me its abysses, and the sky its flaming temples. I plucked the secret science from under the veils of mummies. The priests of Isis and Osiris revealed their secrets to me. They only had their Gods, I had Eros. By his power I penetrated the verbs of Hermes and Zoroaster; by its power I uttered the verb of Jupiter and Apollo!

E. Shure "Great Initiates"

For the songs fell in love with his beauty ...

In the north of Greece, in Thrace, lived the singer Orpheus. He had a wonderful gift of songs, and his fame spread throughout the land of the Greeks.

Nights and days passed, but Orpheus could not be consoled, his sadness grew with every hour.

No, I can't live without Eurydice! he said. - The earth is not sweet to me without it. Let Death take me, even if in the underworld I will be together with my beloved!

But Death did not come. And Orpheus decided to go to the realm of the dead himself.

For a long time he searched for the entrance to the underworld and, finally, in the deep cave of Tenara he found a stream that flowed into the underground river Styx. Along the bed of this stream, Orpheus descended deep underground and reached the banks of the Styx. Beyond this river began the realm of the dead.

Take me to the other side! But Charon refused:

Only the dead I bring to the other side. When you die, I will come for you!

Have pity! Orpheus pleaded. - I don't want to live anymore! It's hard for me to stay on the ground alone! I want to see my Eurydice!

In the dark corners of the hall, behind the columns, Memories were hidden. They had whips of living snakes in their hands, and they painfully stung those who stood before the court.

Orpheus saw many monsters in the realm of the dead: Lamia, who steals small children from their mothers at night, and the terrible Empusa with donkey legs, drinking the blood of people, and ferocious Stygian dogs.

Only the younger brother of the god of Death - the god of Sleep, young Hypnos, beautiful and joyful, rushed around the hall on his light wings, stirring in a silver horn a sleepy drink that no one on earth can resist - even the great Thunderer Zeus himself falls asleep when Hypnos splashes into him with his potion.

Hades glared menacingly at Orpheus, and everyone around trembled.

But the singer approached the throne of the gloomy lord and sang even more inspirationally: he sang about his love for Eurydice.

Without breathing, Persephone listened to the song, and tears rolled from her beautiful eyes. Terrible Hades bowed his head on his chest and thought. The God of Death lowered his shining sword.

The singer fell silent, and the silence lasted for a long time. Then Hades raised his head and asked:

What are you looking for, singer, in the realm of the dead? Tell me what you want, and I promise you to fulfill your request.

Orpheus said to Hades:

Lord! Our life on earth is short, and Death overtakes all of us someday and takes us to your kingdom - none of the mortals can escape it. But I, alive, myself came to the kingdom of the dead to ask you: give me back my Eurydice! She has lived so little on earth, so little time to rejoice, so little love ... Let her go, lord, to earth! Let her live a little longer in the world, let her enjoy the sun, the warmth and light and the greenery of the fields, the beauty of the spring forests and my love. After all, after all, she will return to you!

Thus spoke Orpheus and asked Persephone:

Intercede for me, beautiful queen! You know how good life on earth is! Help me get my Eurydice back!

Let it be as you ask! Hades said to Orpheus. - I will return Eurydice to you. You can take her with you up to the bright land. But you have to promise...

Whatever you order! Orpheus exclaimed. - I'm ready for anything to see my Eurydice again!

You must not see her until you come out into the light,” said Hades. - Return to earth and know that Eurydice will follow you. But don't look back and don't try to look at her. If you look back, you will lose her forever!

And Hades ordered Eurydice to follow Orpheus.

Slowly climbed Mount Orpheus. It was dark and quiet around him, and it was quiet behind him, as if no one was following him. Only his heart was beating.

"Eurydice! Eurydice!

At last it began to lighten up ahead, the exit to the ground was close. And the closer the exit was, the brighter it became in front, and now everything became clearly visible around.

Anxiety squeezed the heart of Orpheus: is Eurydice here? Does he follow him?

Forgetting everything in the world, Orpheus stopped and looked around.

Where are you, Eurydice? Let me take a look at you! For a moment, quite close, he saw a sweet shadow, a dear, beautiful face... But only for a moment.

Immediately the shadow of Eurydice flew away, disappeared, melted into the darkness.

Eurydice?!

Orpheus and Eurydice / Ancient Greek myth for children
Artist: G. Kislyakova

In the north of Greece, in Thrace, lived the singer Orpheus. He had a wonderful gift of songs, and his fame spread throughout the land of the Greeks.

For the songs, the beautiful Eurydice fell in love with him. She became his wife. But their happiness was short-lived.

Once Orpheus and Eurydice were in the forest. Orpheus played his seven-stringed cithara and sang. Eurydice was gathering flowers in the meadows. Imperceptibly, she moved away from her husband, into the wilderness. Suddenly it seemed to her that someone was running through the forest, breaking branches, chasing her, she was frightened and, throwing flowers, ran back to Orpheus. She ran, not understanding the road, through the thick grass and in a swift run she stepped into the snake's nest. The snake coiled around her leg and stung. Eurydice screamed loudly in pain and fear and fell on the grass.

Orpheus heard from a distance the plaintive cry of his wife and hurried to her. But he saw how large black wings flashed between the trees - it was Death that carried Eurydice to the underworld.

Great was the grief of Orpheus. He left people and spent whole days alone, wandering through the forests, pouring out his longing in songs. And there was such power in these melancholy songs that the trees left their places and surrounded the singer. Animals came out of their holes, birds left their nests, stones moved closer. And everyone listened to how he yearned for his beloved.
Nights and days passed, but Orpheus could not be consoled, his sadness grew with every hour.
- No, I can't live without Eurydice! he said. - The earth is not sweet to me without it. Let Death take me, even if in the underworld I will be together with my beloved!

But Death did not come. And Orpheus decided to go to the realm of the dead himself.
For a long time he searched for the entrance to the underworld and, finally, in the deep cave of Tenara he found a stream that flowed into the underground river Styx. Along the bed of this stream, Orpheus descended deep underground and reached the banks of the Styx. Beyond this river began the realm of the dead.

Black and deep are the waters of the Styx, and it is terrible for the living to step into them. Orpheus heard sighs, quiet crying behind his back - these were the shadows of the dead, like him, waiting for the crossing to the country from which there is no return to anyone.

Here a boat separated from the opposite shore: the carrier of the dead, Charon, sailed for new aliens. Silently moored to the shore Charon, and the shadows obediently filled the boat. Orpheus began to ask Charon:
- Take me to the other side! But Charon refused:
- Only the dead I transfer to the other side. When you die, I will come for you!
- Have pity! Orpheus pleaded. - I don't want to live anymore! It's hard for me to stay on the ground alone! I want to see my Eurydice!

The stern carrier pushed him away and was about to set sail from the shore, but the strings of the cithara rang plaintively, and Orpheus began to sing. Under the gloomy vaults of Hades, sad and tender sounds resounded. The cold waves of Styx stopped, and Charon himself, leaning on the oar, listened to the song. Orpheus entered the boat, and Charon obediently carried him to the other side. Hearing the hot song of the living about undying love, the shadows of the dead flew from all sides. Orpheus boldly walked through the silent kingdom of the dead, and no one stopped him.

So he reached the palace of the ruler of the underworld - Hades and entered a vast and gloomy hall. High on a golden throne sat the formidable Hades and next to him was his beautiful queen Persephone.

With a sparkling sword in his hand, in a black cloak, with huge black wings, the god of Death stood behind Hades, and around him crowded his servants, Kera, who fly on the battlefield and take life from warriors. Severe judges of the underworld sat aside from the throne and judged the dead for their earthly deeds.

In the dark corners of the hall, behind the columns, Memories were hidden. They had whips of living snakes in their hands, and they painfully stung those who stood before the court.
Orpheus saw many monsters in the realm of the dead: Lamia, who steals small children from their mothers at night, and the terrible Empusa with donkey legs, drinking the blood of people, and ferocious Stygian dogs.
Only the younger brother of the god of Death - the god of Sleep, young Hypnos, beautiful and joyful, rushed around the hall on his light wings, stirring in a silver horn a sleepy drink that no one on earth can resist - even the great Thunderer Zeus himself falls asleep when Hypnos splashes into him with his potion.

Hades glared menacingly at Orpheus, and everyone around trembled.
But the singer approached the throne of the gloomy lord and sang even more inspirationally: he sang about his love for Eurydice.
Without breathing, Persephone listened to the song, and tears rolled from her beautiful eyes. Terrible Hades bowed his head on his chest and thought. The God of Death lowered his shining sword.

The singer fell silent, and the silence lasted for a long time. Then Hades raised his head and asked:
- What are you looking for, singer, in the realm of the dead? Tell me what you want, and I promise you to fulfill your request.

Orpheus said to Hades:
- Lord! Our life on earth is short, and Death overtakes all of us someday and takes us to your kingdom - none of the mortals can escape it. But I, alive, myself came to the kingdom of the dead to ask you: give me back my Eurydice! She had lived so little on earth, so little time to rejoice, so little love ... Let her go, lord, to earth! Let her live a little longer in the world, let her enjoy the sun, the warmth and light and the greenery of the fields, the beauty of the spring forests and my love. After all, after all, she will return to you!
Thus spoke Orpheus and asked Persephone:
- Intercede for me, beautiful queen! You know how good life on earth is! Help me get my Eurydice back!

Let it be as you ask! Hades said to Orpheus. - I will return Eurydice to you. You can take her with you up to the bright land. But you have to promise...
- Whatever you order! Orpheus exclaimed. - I'm ready for anything to see my Eurydice again!
“You must not see her until you come out into the light,” said Hades. - Return to earth and know that Eurydice will follow you. But don't look back and don't try to look at her. If you look back, you will lose her forever!
And Hades ordered Eurydice to follow Orpheus.

Orpheus quickly went to the exit from the realm of the dead. Like a spirit, he passed the country of Death, and the shadow of Eurydice followed him. They entered Charon's boat, and he silently carried them back to the shore of life. A steep rocky path led up to the ground.

Slowly climbed Mount Orpheus. It was dark and quiet around him, and it was quiet behind him, as if no one was following him. Only his heart was beating.
"Eurydice! Eurydice!
At last it began to lighten up ahead, the exit to the ground was close. And the closer the exit was, the brighter it became in front, and now everything became clearly visible around.
Anxiety squeezed the heart of Orpheus: is Eurydice here? Does he follow him?

Forgetting everything in the world, Orpheus stopped and looked around.
- Where are you, Eurydice? Let me take a look at you! For a moment, quite close, he saw a sweet shadow, a dear, beautiful face... But only for a moment.

Immediately the shadow of Eurydice flew away, disappeared, melted into the darkness.
- Eurydice?!

With a desperate cry, Orpheus began to descend back along the path and again came to the shore of the black Styx and called for the carrier. But in vain he prayed and called: no one answered his prayers. For a long time Orpheus sat alone on the banks of the Styx and waited. He didn't wait for anyone.

He had to return to earth and live. But he could not forget his only love - Eurydice, and the memory of her lived in his heart and in his songs.

Arno Breker - Orpheus and Eurydice 1944

Orpheus (Orfeuz) son of the Thracian river god Eagra (option: Apollo, Clem. Rom. Hom. V 15) and the muse Calliope (Apollod. I 3, 2). Orpheus was famous as a singer and musician, endowed with the magical power of art, which conquered not only people, but also gods, and even nature. He participates in the campaign of the Argonauts, playing the forming and praying to pacify the waves and helping the rowers of the Argo ship (Diod. 43.1; 48.6). His music calms the wrath of the powerful Idas (Apollod. Rhod. I 492-515). Orpheus is married to Eurydice and, when she suddenly died from a snakebite, goes after her to the kingdom of the dead. The dog of Hades Cerberus, Erinyes, Persephone and Hades are subdued by the game of Orpheus. Hades promises Orpheus to return Eurydice to earth if he fulfills his request - he will not look at his wife before entering his house. Happy Orpheus returns with his wife, but violates the ban by turning to his wife, who immediately disappears into the realm of death (Ovid. Met. X 1-63).
Orpheus did not honor Dionysus, considering Helios the greatest god and calling him Apollo. Enraged, Dionysus sent a maenad to Orpheus. They tore Orpheus to pieces, scattering parts of his body everywhere, collected and then buried by the Muses (Ps.-Eratosth. 24). The death of Orpheus, who died from the wild fury of the Bacchantes, was mourned by birds, animals, forests, stones, trees, enchanted by his music. His head floats along the river Gebr to the island of Lesbos, where Apollo takes it.
The shadow of Orpheus descends into Hades, where it unites with Eurydice (Ovid. Met. XI 1-66). On Lesbos the head of Orpheus prophesied and worked miracles (Orph. Vit. frg. 115, 118-119). According to the version set forth by Ovid (Ovid. Met. XI 67-84), the Bacchantes tore Orpheus to pieces and were punished by Dionysus for this: they were turned into oak trees.
The myths about Orpheus combine a number of ancient motifs (cf. the magical effect of Orpheus's music and the myth of Amphion, the descent of Orpheus into Hades and the myth of Hercules in Hades, the death of Orpheus at the hands of the Bacchantes and the tearing apart of Zagreus). Orpheus is close to the Muses (Eur. Rhes. 943), he is the brother of the singer Lin (Apollod. I 3, 2). Orpheus is the founder of Bacchic orgies (Eur. Hippol. 953) and ancient religious rites (Aristoph. Ran. 1032). He is initiated into the Samothracian mysteries (Diod. 43, 1). The name of Orpheus is associated with a system of religious and philosophical views (Orphism), which arose on the basis of the Apollonian-Dionysian synthesis in the 6th century. BC. in Attica.

Orpheus loved the young Eurydice, and the strength of this love was unparalleled. Once, while walking in the meadow, Eurydice accidentally stepped on a snake. Eurydice screamed and fell. The girl's face turned pale. A clear forehead was covered with perspiration, bright eyes rolled back.
Orpheus ran to the cry and saw his bride. The singer struck the strings of the cithara, but Eurydice did not open her eyes, did not reach out to him, as before. For a long time Orpheus mourned his beloved. And he decided to go down to the underworld in order to return auridika and unite with her. Orpheus took nothing with him, except for a cithara and an unblown willow twig.
He went down to the banks of the sacred Styx, behind which lay the world of the dead. Here is Charon. But when Orpheus took a step towards the boat, he ran into an oar placed across. The old boatman knew his business: “The realm of the dead is not for the living. Come when your time comes!"
The singer pulled the strings of the cithara, and over the kingdom of eternal silence the song of the beautiful upper world sounded. Charon lowered his oar and, leaning on it, listened to unknown sounds. Without stopping singing, Orpheus entered the boat, and now he is already on the other side. Crowds of shadows ran towards the song, and the terrible underground dog Kerber chased after them. Hearing the singing, Kerberus slowed down his run and froze, like an earthly dog at the sign of a hunter.
Here is the throne of the great lords of the underworld Hades and Persephone. Stopping in front of them, Orpheus sang the best of his songs - a song about love. And while he sang, the willow twig that he brought blossomed. Green leaves sprouted from broken buds. How intoxicating is the smell of fresh greenery, not knowing death and decay! Tears welled up in Persephone's eyes.
The song died away, and there was a deep silence. And the voice of Hades sounded in him:
What are you asking, stranger?
- I came for the sake of my beloved Eurydice, who is in the world of shadows. Tanat [Death] stole her from me at the dawn of love. Don't you know that we will all come here. She will return under your power, and I will appear with her. I ask you for a while. Let Eurydice experience the joy of life.
- Let it be your way, - said Hades. - Lead Eurydice to the upper world. She will follow you, and you will follow Hermes. Just remember: look back - the gift will be taken away.
- Have patience!
And they set off on their way. Passed the kingdom of Hades. Charon took them on the boat, and now Styx is behind. There was a steep path up. Hermes walked ahead. Orpheus is behind him. The light has already dawned. Excitement seized Orpheus. Has Eurydice fallen behind? Did she stay in the realm of the dead? The hero slowed down. I listened. But the shadows walk silently. There were a few steps left to the upper world, but Orpheus could not stand it and looked back. He saw nothing, but caught a slight breath. Hades took away his gift. And Orpheus himself was to blame.
Again, Orpheus descended to the Styx, hoping to once again plead with the underground gods. But mercy is given only once...
(453 words) (According to A. I. Nemirovsky. Myths of Ancient Hellas)

Title the text and retell it in detail. Answer the question: “What thoughts and feelings does the myth of Orpheus and Eurydice evoke in you?”
Title the text and retell it concisely. Answer the question: “Do you agree with the statement of A. Nemirovsky that the power of love between Orpheus and Eurydice had no equal?”

The famous German composer Christoph Gluck is the author of one of the most famous operas "Orpheus and Eurydice". Here the author talks about sublime, earthly feelings, about the purest and most transmitted love. The heroes of this work are the characters of Greek mythology.

The plot belongs to antiquity, there are many dramatic elements and techniques that make the work rich.

Characters

Orpheus is a musician.

Eurydice is the musician's wife.

Cupid is the god of love, he connects loving hearts.

Blessed shadow - lives in the realm of the dead.

Furies, shepherd, shadows of the dead, spirits.

Summary of Myth and Legend Orpheus and Eurydice (opera)

Orpheus is a wonderful musician, but he cannot be calm because his beloved Eurydice has died. He spends all the time near her tomb. He is so bad without her that he asks heaven to return her or reduce him. His unusually velvety voice was heard by the gods. Then Zeus tells Cupid to go down and announce the decision of the gods. He tells Orpheus that he has been allowed to descend into the dark world and bring back his wife. But he can do this only if his music touches the spirits. But there are conditions that he must comply with. He is forbidden to look back and look into the eyes of his wife. But he loves her so much that he agrees to any conditions.

And so he finds himself in a dark area where mystical creatures block his path, try to scare him, but the power of music and art works wonders. Spirits make concessions to him, and he enters the underworld. Having passed all the obstacles, he enters the world of blissful shadows. This place is called Elysium. Eurydice is here. He feels peace and tranquility here, but is not happy without his beloved. Beautiful scenery, birdsong bring him inspiration. He sings about the beauty of this nature. His songs attract the shadows that bring his beloved. The shadow removes her veil and joins their hands, but reminds him of the obligatory condition. Orpheus is in a hurry to leave the afterlife and goes without looking back. The closer they are to the exit, the more Eurydice turns into a real woman.

They again fall into a terrible gorge, Orpheus tries to pass it faster, but his wife asks to look at her. But Orpheus is not inclined, she is disappointed in his love and refuses to leave the kingdom of the dead. Then he violates the condition and hugs his wife. But a terrible prophecy comes true, Eurydice is dead forever.

Orpheus despaired a little more, and they would have been happy, but now he simply has no reason to live. He wants to take his own life. The gods were struck by such strong feelings, and they resurrect his wife.

They are greeted by a choir of shepherdesses and shepherds who sing and dance, praising the wisdom of the gods and the power of love, which can even conquer death. Love and art cannot be destroyed even by death, but there is a line between the world of the dead and the world of the living that cannot be overcome. Perhaps that is why we feel our guilt before the dead, because something was not added or not loved.