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ALEKSANDER WAT, AN ORPHIC POET

100%
Kuczyńska-Koschany K.
Colloquia Litteraria
|
2017
|
issue 1
EN
he most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, somehow more “orphic”: did Wat soften a book version of the poem due to personal reasons (a soften phase of the illness) or was it because of censorship’s intervension? Referring to Orpheus, the author also indicates significant painting contexts (Moreau, Delville, Redon) and sculpture contexts (Rodin); it becomes useful during Wat’s interpretation – his very pictorial illustration (e.g. in the poem Na wystawie Odilon Redona) is also “orphic”, full of blackness. Nevertheless, it seems that Wat’s orphic descent into blackness, inside oneself, into death is even more acute than Rilke’s – since Wat writes about himself, his own death and his own funeral (Wiersz ostatni). 
2

ORFEUS MELANCHOLIK? ANTICKÝ HUDEBNÍ MÝTUS V ARCHETYPÁLNÍ INTERPRETACI

80%
Kozel D.
Slovenská literatúra (Slovak Literature)
|
2014
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vol. 61
|
issue 4
303 – 311
EN
The aim of this paper is to present the archetypal interpretation of Orpheus as a representative of the classical musical myth. The text tracks the relationship between myth and music as well as explores possible melancholic features of the mythological character. The methodological basis is primarily the theory of archetype by Carl Gustav Jung. The mythological image of Orpheus in ancient literature is confronted with the former understanding of melancholy, taking account of the broader archetypal symbolization. Orpheus is incorporated into the mythological framework of Apollo and Orphism. The basic motifs of the myth include musical expression of the character (playing the lyre, singing), his journey to the underworld to retrieve Eurydice and his tragic death. There is an archetypal manifestation of the hero, the Self, the anima, the animus, the wise old man. The central motif is that of Orpheus turning around to look at Eurydice on the way from the underworld, it is an expression of unintegrated mental contents of individuation and the death of anima. The consequence of the described phenomenon is the death of the character by ripping his body to pieces by the women. The melancholy elements of myth show by moving towards the death based on the deficit of anima, on the next level the melancholy is initiated by the underworld experience and connection with music. The ancient view of Orpheus´s melancholy is connected to exceptional artistic abilities. By combining the archetypal approach to the myth and the interpretation analysis of melancholy, the amplified image of Orpheus has been created, which can be applied to interpretations of works of art.
3

The gender of Orpheus

80%
Zizek S.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
153-160
EN
The present paper is an interpretation of incarnations of the Orpheus and Euridice myth using Lacan's theory. By referring to operatic embodiments of the myth (in Monteverdi, Gluck, and, at a later date, Offenbach), the author considers the change in how the role of woman is seen, as a muse and 'midwife' of a male's talent. He shows the changing concepts of Euridice's gesture: she gives Orpheus back his talent through her death. Lastly, by tracing the diversified ideas of composers with regards to how the Orpheus's part is to be performed (varied voice ranges, from female soprano to male tenor), the author puts forward a thesis that casting female singers in both parts, i.e. as Orpheus and Euridice, and thereby, giving their relationship lesbian traits, would contribute to emphasising the myth's hidden meanings.
4

THE ORPHEUS-TYPE MYTH IN TURKMEN MUSICAL TRADITION

80%
Zeranska-Kominek S.
Musicology Today
|
2005
|
vol. 2
126-136
EN
The myth of a poet-musician who dies of love while seeking immortality in art is found not only in European culture; it is also present in the tradition of the peoples of Central Asia. Görogly (Son of the Grave) is an initiated singer and poet, who, in following the path of love, vanquishes death, restores harmony to the universe and brings cultural goods to the mankind. Tales of Görogly or Körogly (Son of the Blind Man), arranged in an epic cycle, are known among Turkmen, Uzbeks, Karakalpaks, Kazakhs and Turks, as well as Azerbaijanis, Armenians, Georgians, Kurds and Tajiks. A tale from this cycle, entitled 'Harman Dali', which tells the story of love between a beautiful princess and the brave djigit Görogly, is widely known in Turkmenistan, above all in the Turkmen part of Chorasmia. The analysis of this tale reveals musical, philosophical and cosmological threads and the wealth of symbolical meanings. Substantial similarities between both myths are described by juxtaposing the Turkmen tale with a 15th-century ballad on Orpheus and Eurydice by Robert Henryson.
5
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ZAPOMENUTÝ ORFEUS. K PROBLEMATICE ZŘÍDKA UVÁDĚNÝCH OPER S ORFEOVSKOU TEMATIKOU

70%
Trávničková M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 2
116 - 128
EN
This text offers a historical probe into the history of operas with an Orpheus theme. It maps out the individual epochs and introduces works which do not have an extensive tradition of reception and their productions appear in the repertoires of theatres only occasionally. The focus is especially on the period of Baroque where operas with an Orpheus theme are most heavily represented, and on 20th-century operas. On the other hand, this study does not pay attention to 19th-century opera because this mythological theme is not present in it. The exploration of the tradition of interpreting the mentioned opuses includes examples of contemporary productions.
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