Relevant bibliographies by topics / Orpheus and Eurydice

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Academic literature on the topic 'Orpheus and Eurydice'

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Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Orpheus and Eurydice"

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Veres, Ottilia. "The Story of Orpheus and Eurydice in Coetzee and Rilke." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 41–48. http://dx.doi.org/10.1515/ausp-2016-0003.

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Abstract J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre.
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Nelson, Byron. "Orpheus and Eurydice (review)." Theatre Journal 49, no. 4 (1997): 513–14. http://dx.doi.org/10.1353/tj.1997.0110.

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Boynton, Susan. "The sources and significance of the Orpheus myth inMusica Enchiriadisand Regino of Prüm'sEpistola de harmonica institutione." Early Music History 18 (October 1999): 47–74. http://dx.doi.org/10.1017/s0261127900001832.

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Throughout history, the myth of Orpheus and Eurydice has taken on the connotations of its specific cultural contexts. Interpreters of the myth have invested the figure of Orpheus with symbolism to suit their own rhetorical purposes. Each retelling has emphasised certain elements of the myth to make it conform to the intended meaning. In all accounts of the story, Orpheus is a musician who charms animals and inanimate objects with his song. In the fifth century B.C., the death of his wife, Eurydice, and his attempt to rescue her from the underworld became part of the mythographic tradition. According to the best-known version of this story, Orpheus persuades the inhabitants of the underworld to return Eurydice to him, but then loses her when he looks back at her, violating the rule imposed by the underworld.
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Hipolito, Jeffrey. "Owen Barfield’s Orpheus." Journal of Inklings Studies 5, no. 2 (October 2015): 113–22. http://dx.doi.org/10.3366/ink.2015.5.2.5.

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This essay examines Owen Barfield’s reworking of Virgil’s account of the Orpheus myth in the fourth Georgic. It finds that while Barfield retains Virgil’s nesting-doll form he dramatically shifts the thematic focus. In particular, where Virgil’s Stoicism compels him to see Orpheus’s romantic longing for Eurydice as a failure of character, Barfield’s rendering suggests that romantic love both a reflection of and step in the direction of the selfless love towards which each character wittingly or unwittingly strives.
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Deed, Bron. "Night Vision." Ata: Journal of Psychotherapy Aotearoa New Zealand 18, no. 1 (October 1, 2014): 23–34. http://dx.doi.org/10.9791/ajpanz.2014.03.

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This paper explores the poetics of death and dying using an imaginal approach. It focuses on an understanding of death, dying and palliative care within the framework of Arnold Mindell’s process-oriented psychology. It develops a mythopoetic weaving of ideas and images intended to invite reveries of death and dying that take us more deeply into a personal understanding of this liminal experience. The paper is illustrated with reference to poetry and myth, specifically the Greek myth of Orpheus and Eurydice, and offers an extended reverie from Eurydice’s perspective. Waitara E tahuri ana tēnei pepa ki te whakatau i ngā mōteatea tangi, kōwhekowheko hoki mā te ara pōhewa. Ka aronui ki te mātauranga hāngai ki te mate, whakamatemate me te mahi mirimiri e ai ki ngā whakahaere hātepe hinengaro a Arnold Mindel. Ka whaneke ake he rarangatanga whakaaro, whakaahua hai whakaputa i ngā wawata whakahōhonu ake i ngā aweko o te mate me te whakamatemate te huarahi e hōhonu ake ai te mātauranga o tēnei momo wheako. Ko ngā mōteatea me ngā pakiwaitara pūmau tonu atu ki te pakiwaitara Kiriki mō Orpheus rāua ko Eurydice te whakaaturanga whakamāramatanga o tēnei korero, ā, ka whakawhānuihia ake he whakaaro mai i te tirohanga a Eurydice.
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Belfiore, P. J. "Rainer Maria Rilke: Orpheus. Eurydice. Hermes." Literary Imagination 9, no. 3 (May 26, 2007): 351–53. http://dx.doi.org/10.1093/litimag/imm065.

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Zabriskie, Beverley. "Orpheus and Eurydice: a creative agony." Journal of Analytical Psychology 45, no. 3 (July 2000): 427–47. http://dx.doi.org/10.1111/1465-5922.00174.

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Puskás, Dániel. "Orpheus in the Underground." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 45–54. http://dx.doi.org/10.1515/ausp-2015-0034.

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Abstract In my study I deal with descents to the underworld and hell in literature in the 20th century and in contemporary literature. I will focus on modem literary reinterpretations of the myth of Orpheus, starting with Rilke’s Orpheus. Eurydice. Hermes. In Seamus Heaney’s The Underground. in the Hungarian Istvan Baka’s Descending to the Underground of Moscow and in Czesław Miłosz’s Orpheus and Eurydice underworld appears as underground, similarly to the contemporary Hungarian János Térey’s play entitled Jeramiah. where underground will also be a metaphorical underworld which is populated with the ghosts of the famous deceased people of Debrecen, and finally, in Péter Kárpáti’s Everywoman the grave of the final scene of the medieval Everyman will be replaced with a contemporary underground station. I analyse how an underground station could be parallel with the underworld and I deal with the role of musicality and sounds in the literary works based on the myth of Orpheus.
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Ceci, Francesca, and Aleksandra Krauze-Kołodziej. "Χαῖρε Ὀρφεῦ! Perception of a Mystery: The Images of the Myth of Orpheus on Ancient Coins." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (December 2018): 721–40. http://dx.doi.org/10.1556/068.2018.58.1-4.41.

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Summary The myth of Orpheus experienced a great popularity in ancient world, covering the path from a mythical legend to a complex and sophisticated mystic cult. There were many various features of Orpheus that characterized the Thracian singer, being the result of his different adventures: from the quest of the Argonauts and the pathetic story of love of Eurydice, to his journey to the underworld. The myth of Orpheus was highly represented in iconography. The most frequent representations are those showing Orpheus as a singer surrounded by the beasts and, in smaller amount, in the scene representing the story of descent to the underworld in search of Eurydice. Numerous images connected with the legend of Orpheus, dating from the Classical times to Christian era, are the proof of a wide influence of the mystery cult of Orpheus on ancient and late antique culture. This paper aims to present an overview of ancient coinage iconography representing Orpheus. Various motives considering the story of Orpheus appear on one of the most powerful means of propaganda – the coins, particularly from the Roman provinces, that were easily able to reach a wide audience. In the limited space of coins, the engravers could highlight effectively the most important and popular events from the story of Orpheus.
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Nazarenko, Ivan I. "“Orpheus in Hell”: The Transformation of the Myth of Orpheus and Eurydice in Boris Poplavsky’s Novel Home from Heaven." Imagologiya i komparativistika, no. 14 (2020): 90–109. http://dx.doi.org/10.17223/24099554/14/4.

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The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer of spiritual experience to representatives of future generations) functions of art remain.
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Dissertations / Theses on the topic "Orpheus and Eurydice"

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Dycus, Sydney Alexandra. "Interpreting the Journey of Orpheus: An Exploration of Five Operas Based on the Myth of Orpheus over Four Centuries." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2065.

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This thesis presents the myth of Orpheus through each century of opera. Beginning with Claudio Monteverdi’s L’Orfeo in 1607, followed by Christoph Gluck’s Orfeo ed Euridice, Jacques Offenbach’s Orphée aux Enfers, Philip Glass’s Orphée, and finally, Ricky Ian Gordon’s Orpheus and Euridice in 2001. Through the analysis of plot changes, gender characteristics, and the symbolism of these five operas, the elements that have made Orpheus one of the most prominent figures in opera will be explored.
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Wilt, Kurt van. "Orphic notes." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369656.

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Brakey, Eric. "Orpheus: The Adaptation of Myth for the Theatre." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1283197360.

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Veiga, Paulo Eduardo de Barros. "Virgílio e Ovídio, poetas de Orfeu : um estudo sobre a poética da expansão seguido de tradução e notas /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/94143.

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Orientador: Márcio Thamos
Banca: Alceu Dias Lima
Banca: Ivã Lopes
Resumo: Versos selecionados de Virgílio e Ovídio, poetas do período Clássico da Roma Antiga, mais precisamente, da época de Augusto, são córpus desta dissertação de mestrado, sobre poesia latina. Um alto revestimento estético percebido nos versos desses dois poetas favorece o objetivo da dissertação: desenvolver uma investigação científica sobre poesia latina com ênfase na expressão poética. Basicamente, a proposta de estudo é compreender melhor o fenômeno poético, dando destaque aos recursos figurativos e icônicos assim como aos métricos. Para isso, buscou-se inspiração teórica principalmente na Linguística saussuriana, na Semiótica greimasiana e nos estudos de Jakobson sobre Poética. Em se tratando de poesia em língua estrangeira, foi necessário desenvolver uma ―tradução de estudo‖ acompanhada de notas de referências mítico-culturais, que auxiliam a análise literária. Constituem córpus os versos de número 453 a 527 do Canto IV das Geórgicas de Virgílio, os de 1 a 82 do Canto X das Metamorfoses de Ovídio e os de 311 a 328 do Livro III da Arte de Amar desse mesmo autor. Os excertos têm como recorte temático o mito de Orfeu e Eurídice. Por se tratar de dois autores em cujas obras há notável diálogo, houve a possibilidade de realizar também um estudo comparativo entre os dois poetas, sempre com vistas à expressão poética
Abstract: Selected verses of Virgil and Ovid, poets of the Classical period of Ancient Rome, more precisely of the Augustan Age, are corpus of this Master dissertation about Latin Poetry. A high aesthetic finish perceived in verses of both poets favors the aim of this dissertation: to develop a scientific research about Latin poetry with emphasis on the poetic expression. Basically, the purpose of this study is to better undestand the poetic phenomenon highlighting figurative and iconic resources as well as metric. Therefore theoretical inspiration in Saussurian Linguistic, in Greimasian Semiotic and in Jakobsonian Poetic was sought. When it comes to foreign poetry, it is necessary to develop a ―translation of study‖ accompanied by footnotes of mitic and cultural references which support the literary analysis. The corpus of the research is formed by verses number 453 to 527, Book IV of Virgil's Georgics, by 1 to 82, Book X of Ovid's Metamorphoses, and by 311 to 328, Book III of Ovid's The Art of Love. These are excerpts whose thematic focus is the Myth of Orpheus and Eurydice. As such writers have in their works a considerable dialogue, it was possible to develop a comparative study between both poets, always aiming the poetic expression
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Veiga, Paulo Eduardo de Barros [UNESP]. "Virgílio e Ovídio, poetas de Orfeu: um estudo sobre a poética da expansão seguido de tradução e notas." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94143.

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Versos selecionados de Virgílio e Ovídio, poetas do período Clássico da Roma Antiga, mais precisamente, da época de Augusto, são córpus desta dissertação de mestrado, sobre poesia latina. Um alto revestimento estético percebido nos versos desses dois poetas favorece o objetivo da dissertação: desenvolver uma investigação científica sobre poesia latina com ênfase na expressão poética. Basicamente, a proposta de estudo é compreender melhor o fenômeno poético, dando destaque aos recursos figurativos e icônicos assim como aos métricos. Para isso, buscou-se inspiração teórica principalmente na Linguística saussuriana, na Semiótica greimasiana e nos estudos de Jakobson sobre Poética. Em se tratando de poesia em língua estrangeira, foi necessário desenvolver uma ―tradução de estudo‖ acompanhada de notas de referências mítico-culturais, que auxiliam a análise literária. Constituem córpus os versos de número 453 a 527 do Canto IV das Geórgicas de Virgílio, os de 1 a 82 do Canto X das Metamorfoses de Ovídio e os de 311 a 328 do Livro III da Arte de Amar desse mesmo autor. Os excertos têm como recorte temático o mito de Orfeu e Eurídice. Por se tratar de dois autores em cujas obras há notável diálogo, houve a possibilidade de realizar também um estudo comparativo entre os dois poetas, sempre com vistas à expressão poética
Selected verses of Virgil and Ovid, poets of the Classical period of Ancient Rome, more precisely of the Augustan Age, are corpus of this Master dissertation about Latin Poetry. A high aesthetic finish perceived in verses of both poets favors the aim of this dissertation: to develop a scientific research about Latin poetry with emphasis on the poetic expression. Basically, the purpose of this study is to better undestand the poetic phenomenon highlighting figurative and iconic resources as well as metric. Therefore theoretical inspiration in Saussurian Linguistic, in Greimasian Semiotic and in Jakobsonian Poetic was sought. When it comes to foreign poetry, it is necessary to develop a ―translation of study‖ accompanied by footnotes of mitic and cultural references which support the literary analysis. The corpus of the research is formed by verses number 453 to 527, Book IV of Virgil‘s Georgics, by 1 to 82, Book X of Ovid‘s Metamorphoses, and by 311 to 328, Book III of Ovid‘s The Art of Love. These are excerpts whose thematic focus is the Myth of Orpheus and Eurydice. As such writers have in their works a considerable dialogue, it was possible to develop a comparative study between both poets, always aiming the poetic expression
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Lynn, Robert. "Guidelines for transcribing coloratura opera arias for tuba, with transcriptions of three arias by Vivaldi, Gluck, and Delibes." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317923.

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Cadrette, Ryan. "Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth." Thesis, 2013. http://spectrum.library.concordia.ca/977729/1/Cadrette_MA_2013.pdf.

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The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms.
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Stein, Marcia Kay. "The Orpheus and Eurydice paintings of Camille Corot: Lyrical reflections of contemporary society (France)." Thesis, 1992. http://hdl.handle.net/1911/13599.

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Traditionally, commentators of Corot's late historical landscapes dismissed the subject matter of these works as irrelevant accessories added merely to increase their popularity and marketability. It is entirely possible, however, that Corot consciously chose the subject matter of these late historical landscapes, particularly the six paintings incorporating Orpheus and Eurydice, to reflect his feelings about life in Paris in the mid-nineteenth century, the role of the artist in society, and the effect of change on the artist. A critical examination of Corot's artistic background, of the commentaries on his work, and of the multifaceted Orpheus myth provides insight into the role subject matter played in these reflections.
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Patrick, Jennings Mary Kay. "Orpheus and Eurydice in hell and other quantum spaces: The Golden Mean and spiritual transformation in Pynchon's fiction." Thesis, 2000. http://hdl.handle.net/1911/19515.

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Pynchon's inclusion of scientific principles and mathematical concepts in his novels has been duly noted by critics as part of the encyclopedic references in his fiction. Pynchon, however, fictionally employs his scientific and mathematical acumen as part of an encompassing Metaphor of Extremes and Means that both provides a structure for his fiction and describes the great complexity human beings experience when they attempt to interpret the natural world and their unique position in it. Pynchon's metaphor has as it basis two extreme perspectives of the natural world: the mythological world view which has shaped most of human thought over the ages, and the Newtonian view which displaced the mythological in the seventeenth century and ushered in the Age of Reason. Pynchon peoples his fictional worlds with two extreme groups of characters: those who function intuitively and exhibit attributes akin to the frenzied rituals associated with the worship of Dionysus, the ancient Earth God, and those who operate on the Apollonian principles of causality and a will to power. Together, these two perspectives and these two groups of characters provide the extremes in Pynchon's Metaphor. More difficult to recognize is Pynchon's representation of the Golden Mean, identifiable by both a mediating perspective and characters open to alternative possibilities. The mediating perspective he identifies with quantum physics which contains both the mythological view point in its intuitive sense of forces operating below or behind the sensually observable world and the Newtonian perspective upon which quantum principles depend. The mediating characters in Pynchon's Metaphor are Orpheus and Eurydice figures who have connections with both Dionysians and Apollonians in the various novels and often initially exhibit Dionysian or Apollonian characteristics. Yet, they depart from such behavior to forge new paths in search of the Golden Mean. Doing so requires that they lose their Dionysian or Apollonian selves by means of a descent into a quantum-like space from which they emerge enlightened and ready to encounter an absolutely new order of existence---one in which their spiritual identity is retained and the constraints of physical existence which ends in entropy and death is transcended. Increasingly in Thomas Pynchon's novels is the idea that loss of self and interconnectedness is necessary for spiritual transformation which has ramifications far beyond the transformation of the individual. In his most recent novel, Mason & Dixon, the novel's protagonist is a dual-natured Orpheus consisting of both Mason and Dixon who are finally inseparable, joined as they are by the Line they drew. The Golden Mean is the point at which connections occur and distinctions between seemingly mutually exclusive extremes begin to blur. Each extreme is ameliorated by the Golden Mean even as it remains part of a larger pattern that can be glimpsed at and articulated through metaphor, the most human of connecting devices. In Pynchon's Metaphor the Golden Mean suggests a way back to connectedness with that which is larger than oneself and offers the possibility of spiritual redemption and continued existence after death.
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Books on the topic "Orpheus and Eurydice"

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Daniel, Morden, and Henaff Carole, eds. Demeter and Persephone. Cambridge, MA: Barefoot Books, 2013.

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Familiari, Rocco. Orfeo Euridice =: Orpheus Eurydice. Milano: F. M. Ricci, 2000.

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Orr, Gregory. Orpheus & Eurydice: A lyric sequence. Port Townsend, Wash: Copper Canyon Press, 2001.

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Gluck, Christoph Willibald. Orphée et Eurydice (Orpheus and Eurydice): Opera in three acts. Sydney, Australia: Pellinor, 1993.

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Mikolaycak, Charles. Orpheus. San Diego: Harcourt Brace Jovanovich, 1992.

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Nightsong: The legend of Orpheus and Eurydice. New York: Orchard Books/Scholastic, 2006.

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Esam, John. Orpheus, Eurydice: Songs late & early, 1954-2006. Wellington, N.Z: Steele Roberts, 2009.

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Cadnum, Michael. Nightsong: The legend of Orpheus and Eurydice. New York: Orchard Books/Scholastic, 2006.

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Esam, John. Orpheus, Eurydice: Songs late & early, 1954-2006. Wellington, N.Z: Steele Roberts, 2009.

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Nielsen, Palle. Palle Nielsen: Orfeus og Eurydike og andre værker = Orpheus and Eurydice and other works. [Vejle]: Vejle kunstmuseum, 2008.

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Book chapters on the topic "Orpheus and Eurydice"

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Liveley, Genevieve. "Orpheus and Eurydice." In A Handbook to the Reception of Classical Mythology, 285–98. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119072034.ch19.

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Brown, Jennifer N. "Cosmology, Sexuality, and Music in Robert Henryson’s “Orpheus and Eurydice”." In Sexuality, Sociality, and Cosmology in Medieval Literary Texts, 145–58. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137037411_8.

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Haß, Christian David. "Zwischen Ober- und Unterwelt: Ceres und Proserpina; Orpheus und Eurydice." In Ovid-Handbuch, 381–85. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_58.

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McGinley, Kevin J. "The ‘Fenӡeit’ and the Feminine: Robert Henryson’s Orpheus and Eurydice and the Gendering of Poetry." In Woman and the Feminine in Medieval and Early Modern Scottish Writing, 74–85. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230502208_6.

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Fallani, Andrea. "La rielaborazione dei mitemi orfici in Microcosmi. Tra vulgata classica e favola indiana." In Biblioteca di Studi di Filologia Moderna, 355–71. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.27.

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Starting from the critics’ observations about the structure of Microcosmi, the essay focuses on the key role played by the love story between the protagonist-narrator and his wife Marisa, a sort of rewriting of Orpheus and Eurydice’s myth. Convergences and variations between the classic vulgate of the myth and the pseudo-rewriting of Microcosmi are highlighted. The essay also focuses on the Indian myth of Savitri and Sátiavan, to understand the source of the many substantial variations and, in particular, the reversal of roles between male and female characters. This myth turns out to be a privileged source for the rewritings of the Orpheus’ myth that are offered by Magris in his Microcosmi.
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Schläder, Jürgen. "Mann oder Frau — stimmliche Charakteristika der Orpheus-Rolle in Chr. W. Glucks Orpheus und Eurydike." In Oper und Werktreue, 31–50. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03569-1_3.

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7

Käppler, Andreas. "Orpheus sucht Eurydike – Zum psychodramatischen Umgang mit Verlust und Trauer." In Psychodrama und Soziometrie, 185–203. Wiesbaden: VS Verlag für Sozialwissenschaften, 2009. http://dx.doi.org/10.1007/978-3-531-92044-3_8.

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8

"Orpheus and Eurydice." In The Complete Works, 120–35. Medieval Institute Publications, 2011. http://dx.doi.org/10.2307/j.ctv13gvjbm.7.

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9

"ORPHEUS, EURYDICE, AND HERMES." In Poems for the Millennium, Volume Three, 874–78. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942202-152.

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10

Jamme, Christoph. "Love in Paramyth." In Rilke's Sonnets to Orpheus, 178–93. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190685416.003.0006.

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This essay discusses the Orpheus myth, its sources, and its meaning as well as its role in art and literature, in the context of current theories of myth. In particular, it considers Rilke’s reception of Orpheus in The Sonnets to Orpheus as well as in his early narrative poem from 1904 to 1905, “Orpheus. Eurydice. Hermes,” the only poem that bears Orpheus in its title. The focus of the interpretation is on Rilke’s revision of myth: the poet makes use of the Orpheus myth to exemplify his distinctive conception of love. Special attention is given to how the representation of Eurydice in “Orpheus. Eurydice. Hermes” already embodies Rilke’s view of unpossessive love that becomes central in his later works.
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