Orpheus and the Sirens


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Orpheus and the Sirens A Drama in Lyrics


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Reprint of the original, first published in 1882.




Orpheus & the Sirens


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Orpheus and the Sirens


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Excerpt from Orpheus and the Sirens: A Drama in Lyrics Death ye fear not, yet now 0 fear to gaze On these fair scenes and phantom-haunted skies, Whence goddess-shapes that ravish and amaze, Dream-like, with golden locks and starry eyes, Alluring bend the songs half heard, and sighs, At whose appeal the vital spirits fail, That ravish soul and sense with soft surprise, Tremble thereat, 0 yo with passion pale. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Writing of Orpheus


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Winner of the Translation Prize for non-fiction from the French-American Foundation. Son of a mortal king and an immortal Muse, Orpheus possessed a gift for music unmatched among humans; with his lyre he could turn the course of rivers, drown the fatal song of the Sirens, and charm the denizens of the underworld. The allure of his music speaks through the myths and stories of the Greeks and Romans, who tell of his mysterious compositions, with lyrics that only the initiated could understand after undergoing secret rites. Where readers of subsequent centuries have been content to understand these mysteries as the stuff of obfuscation or mere folderol, Marcel Detienne finds in the writing of Orpheus a key to the thinking of the ancient Greeks. A profound understanding of ancient Greek myth in its cultural contexts allows Detienne to recover a cultural system from fragments and ephemera—to reproduce, with sensitivity to variation and nuance, the full richness of the mythological repertoire flowing from the writing of Orpheus. His investigation moves from the Orphic writings to broader mysteries: how Greek gods became myths, how myths informed later religious thinking, and how myths have come into play in polemics between competing religions. An eloquent answer to some of the most vexing questions about the myth of Orpheus and its far-reaching ramifications through time and culture, Detienne's work ultimately offers a major rethinking of Greek mythology.




Orpheus Versus the Sirens


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Psalms for the Sirens


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"Psalms for the Sirens" is the tenth canto of Kit Ludlow's art-poetry epic, Orpheus. Years have passed since Orpheus journeyed into Hades to retrieve his wife. That adventure failed due to his cursed look-back. After Bedlam, the famed poet wandered into Sheol, a forgotten underworld. He had no narrative; only lyrical verse to make sense of the world. In the fifth canto, Orpheus awakens from his daze to begin the reclamation of his wife, poetry. Orpheus, in the sixth canto, realizes he must sacrifice himself to Dionysus. In the seventh, "Dance for Danace", Orpheus discovers that he is "no one". As no one, he calls for Charon to ferry him across the Styx and to the gates of Hades. There he tells Charon to pity the suicides. In the eighth canto, Orpheus is confronted by the sorrows of the shallow. There he must decide to continue his journey or rest. In the ninth canto, his vanity is tested. After being tested, Orpheus as "no one" must confront desire. Desire comes in the form of the Sirens. Every line of the poem is illustrated by the poet's artwork. All artwork is original to the canto. IG: kitludlow.




The Sirens


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The Sirens were a group of women—or half women, half other creature, depending on the version of the myth—who sang with beautiful voices to lure unsuspecting sailors to their death. They almost caught Odysseus and his men, plus Jason and the Argonauts, but these sailors escaped. How did they get away? Were the Sirens cruel or just cursed? Find out in this fascinating story about the Sirens and the gods and goddesses who used them. Also find out where the Sirens came from and what they meant to the people who believed in them.




Cardboard Gods


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Wilker marks the stages of his life through the baseball cards he collected as a child. He captures the experience of growing up obsessed with baseball cards and explores what it means to be a fan of the game.




Omens and Oracles


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Addressing the role which divination played in ancient Greek society, this volume deals with various forms of prophecy and how each was utilised and for what purpose. Chapters bring together key types of divining, such as from birds, celestial phenomena, the entrails of sacrificed animals and dreams. Oracular centres delivered prophetic pronouncements to enquirers, but in addition, there were written collections of oracles in circulation. Many books were available on how to interpret dreams, the birds and entrails, and divination as a religious phenomenon attracted the attention of many writers. Expert diviners were at the heart of Greek prophecy, whether these were Apollo’s priestesses delivering prose or verse answers to questions put to them by consultants, diviners known as manteis, who interpreted entrails and omens, the chresmologoi, who sang the many oracles circulating orally or in writing, or dream interpreters. Divination was utilised not only to foretell the future but also to ensure that the individual or state employing divination acted in accordance with that divinely prescribed future; it was employed by all and had a crucial role to play in what courses of action both states and individuals undertook. Specific attention is paid in this volume not only to the ancient written evidence, but to that of inscriptions and papyri, with emphasis placed on the iconography of Greek divination.