Abstract:
Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This legendary singer is mentioned every time, if not explicitly, at least implicitly, in conjunction with μουσική, the ‘art of the Muses’, namely ‘music’ in its fullest sense. Each of these allusions recalls and highlights his prodigious and superhuman musical qualities and abilities.
Article Note
Many thanks are due to Andreas Markantonatos for polishing the English translation.
© De Gruyter 2016
Articles in the same Issue
- Titelseiten
- Special Issue: Orphism and Greek Tragedy, Issue Editors: Jacqueline Assaël & Andreas Markantonatos
- Introduction
- The Degree of Orphic Initiation in Euripides’ Alcestis
- Two Orphic Images in Euripides: Hippolytus 952–957 and Cretans 472 Kannicht
- The Meanings of σώιζειν in Alcestis’ Final Scene
- Mystical Morality and Heroic Transcendence: Eleusinian Orphism and Political Ethics in Euripides’ Iphigenia at Aulis
- Dikē as Global World Order: An Orphic Inheritance in Aeschylus?
- Death Scenes and Orphic Mysteries in Euripides: Between the Epic and the Mystic
- Orpheus and mousikê in Greek Tragedy
- General Index
Articles in the same Issue
- Titelseiten
- Special Issue: Orphism and Greek Tragedy, Issue Editors: Jacqueline Assaël & Andreas Markantonatos
- Introduction
- The Degree of Orphic Initiation in Euripides’ Alcestis
- Two Orphic Images in Euripides: Hippolytus 952–957 and Cretans 472 Kannicht
- The Meanings of σώιζειν in Alcestis’ Final Scene
- Mystical Morality and Heroic Transcendence: Eleusinian Orphism and Political Ethics in Euripides’ Iphigenia at Aulis
- Dikē as Global World Order: An Orphic Inheritance in Aeschylus?
- Death Scenes and Orphic Mysteries in Euripides: Between the Epic and the Mystic
- Orpheus and mousikê in Greek Tragedy
- General Index