Myth Of Orpheus Research Articles

СПОСОБЫ И ПРИЕМЫ МИФОЛОГИЗАЦИИ В РОМАНЕ С. РУШДИ «ЗЕМЛЯ ПОД ЕЕ НОГАМИ»

The study is devoted to the analysis of methods and techniques of mythologization in the novel The Ground Beneath Her Feet written by the British author of Indian origin S. Rushdie. The paper explores the narrative organization of the novel, in which images and motifs of ancient mythology are used as a special code for artistic interpretation of European culture of the second half of the 20th century. The article examines the artistic reality of the novel, which combines the modern history of rock culture and classical mythology of Ancient Greece. S. Rushdie addresses problems related to the nature of creativity using as the main plot-forming motifs such mythologemes as the love story of Orpheus and Eurydice, the myth of alldevouring Tartarus, twin myths. The study shows that a typical technique for creating expressive threedimensional multivocal images in Rushdie's novel is a combination of real facts from the world of rock culture and mythological allusions, intertwining, overlapping and collision of various motifs and plots of Greek mythology, which, taken all together, generates the original artistic reality. The article analyzes how the myth of Orpheus and Eurydice acquires a cultural dimension in the novel and what techniques are used by the author to activate the extensive cultural memory of the Orphic myth. The concentration and interpretation of iconic images and motifs of ancient mythology are used in the novel for artistic analysis of the state of culture in the second half of the 20th century and of its attempts to counter the catastrophic tendencies of destruction and death of the modern civilization.

ОРФИЧЕСКИЙ МИФ В ЛИРИКЕ И. БРОДСКОГО И Б. РЫЖЕГО

The article analyzes the peculiarities of incorporating the Orphic myth in I. Brodsky and B. Ryzhy's poems. Using two I. Brodsky's works as an example, the authors prove that the myth of Orpheus can be incorporated into the poem structure not only directly, but also through the details of the myth without mentioning particular names. It is often not so much the proper names as the cultural context that is important for understanding cultural images. In his works, Brodsky can slightly modify the classical myth, deviate from the canon, and use variations of certain episodes; in Brodsky's poetry, the Orphic myth is sacralized. Certain excerpts from the poem Zophia were the basis for analyzing Brodsky's understanding of Orphism and the peculiarities of interpreting Orpheus' image through the image of Jesus Christ. In turn, the analysis of the poem “Singing without Music” proves the thesis that it is possible to “tell” the Orphic myth without mentioning Orpheus. The Orphic myth was studied in B. Ryzhy's work on the basis of the poems Orpheus, Over the Houses, and Remember the Rain on Titov Street. In B. Ryzhy's lyrics, the myth of Orpheus undergoes no changes, its integrity is intact; the poet uses the story of Orpheus to convey the strongest feelings of love. Whoever the subject of the poetic statement is in Ryzhy's verses, the themes of the works, incorporating the Orphic myth into their structure, remain unchanged. Using mythological imagery in the lyrics of Brodsky and Ryzhy helps to reveals eternal themes significant to either poet. It is necessary, however, to realize that different motifs in the Orpheus story prove to be important to these two authors. For I. Brodsky, closeness between the images of Orpheus and Christ, the divinity of the creative gift is significant; for B. Ryzhy, the love motif of the myth, the eternity and sincere love between two people, comes to the fore.

Da invenção mais impura: uma montagem de Orfeu em Herberto Helder

Este artigo vale-se do mito de Orfeu enquanto tópica reiteradamente revistada na poesia moderna para analisar duas possibilidades de leitura do poeta trácio na obra do poeta Herberto Helder. A hipótese central é a de que, embora distintos, ambos guardam em si a implicação de metamorfose e finitude engendrada pela metáfora no projeto do poema contínuo, tendo em vista a escrita como um procedimento paradoxal de inscrição e apagamento articulado por imagem e som na enunciação lírica. Para tanto, a obscuridade inscrita no gesto autoral será perscrutada a partir do recurso do corte na montagem cinematográfica, considerando o princípio fílmico da poesia helderiana e o modo pelo qual ela se apropria do mito de Orfeu a partir da recitação poética como uma força que opera no horizonte de uma alteridade radical, fundadora de um idioma próprio, no qual origem e fim simultaneamente condicionam a interdição e a abertura ao sentido.

Béla Bartόk Bluebeard’s Castle – a new Avatar of the Myth of Orpheus?

Ever since its Greek and Roman mythological and literary sources during Antiquity, the myth of Orpheus has been of paramount importance in the edification of the Artist as a key-character of understanding Music as magic and Love beyond death. Over the course of millennia, the myth has underwent numerous transformations, reflecting cultural and creative views of each period. Up to this day, the myth of Orpheus continues to allure composers` creative imagination. Within the modern and even postmodern tempestuous avatars of the myth in musical creation, the myth stays true to revealing the creator`s inner landscape, his/her reflective searching, and the nature of love between life and death. The current essay proposes a set of correlations between the essential motifs of this ancient myth and the symbols in Béla Bartók`s Bluebeard`s Castle, in a quest for answering the question whether this iconic opera of modernity could be understood, to some extent, as a new avatar of the Orpheus myth.

Ancient Myth in Brazilian Cinematography: Black Orpheus

The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian co-production, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities.

“Not the Lover’s Choice, but the Poet’s”: Classical Receptions in Portrait of a Lady on Fire

Céline Sciamma’s film Portrait of a Lady on Fire (Portrait de la jeune fille en feu, 2019) tells its 18th-century story of love and loss in part by retelling an ancient story, the myth of the poet Orpheus and his beloved Eurydice, as related by the Roman poet Ovid in his epic Metamorphoses (c. 8 CE). The myth’s most iconic moment, when Orpheus turns around to look at Eurydice and therefore loses her to Hades, occupies a central position in the film’s plot and underlies its running theme of ‘looking at’ as ‘looking back.’ By changing certain aspects of the myth – replacing poetry or singing with painting, making both main characters women, and having them alternate between the two main mythic roles – Portrait does not so much update the ancient story as debate its meanings. What does it mean to lose someone beloved but gain their image? How is every loss a kind of death, and in its train, the life that remains a kind of afterlife? Most generally, what are the links among lived experience, memory, and art? By raising these questions via the ancient myth, Portrait meditates on the effect of making, as Orpheus did, “not the lover’s choice, but the poet’s.”

Elfriede Jelinek ”“ “Sombra (Eurídice diz)”

Propomos uma tradução literária para o português brasileiro, a partir do texto em alemão, de uma passagem da peça Sombra (Eurídice diz), da escritora austríaca Elfriede Jelinek. A peça, publicada em 2013, é uma reescrita moderna e feminista do mito grego de Orfeu e Eurídice. A tradução, seguida do respectivo texto de partida, é precedida de uma sucinta apresentação da obra e de sua autora, em que abordamos os aspectos mais relevantes desse texto teatral em termos de intertextualidade e características formais.

New World Classics: Receptions of Antiquity for Modern Children

Students of classical reception are paying increased attention to the memorable first encounters with classical culture that occur in childhood. Accounts of the ancient world composed for (or regularly read by) children, in myth collections, historical novels, and history texts, represent one of the most widespread and influential manifestations of the classical tradition, with a lasting effect on the imaginative lives of adults. Work in this area is benefiting from interdisciplinary connections, especially with the growing field of children's literature studies. Both reception studies and children's literature studies are concerned with the construction of a past, whether cultural or personal, that is in itself inaccessible but in some sense still with us. Work to date on the classics for children (as represented in a pioneering conference at the University of Wales at Lampeter in the summer of 2009) has concentrated on British texts and contexts, but the American tradition, beginning with Nathaniel Hawthorne, includes notable examples of the classics configured for children, and a panel on this topic seems both timely and well suited to the APA.This panel will consider versions of antiquity for older children from Hawthorne to the present day, with shared attention to themes of freedom and constraint as reflected both in the lives of young people and in the history of the US. Two historical papers will be complemented by two that explore current versions of classical myth for contemporary children and teenagers in different media, a fantasy novel and a video game. The panel will begin with introductory comments by one of the organizers. Each paper will last 20-25 minutes, with some questions after each paper, and there will be a general discussion, led by the organizers, among the panelists at the end. We will require audio-visual equipment suitable for powerpoint presentations and for showing clips of the video games discussed by panelist #4. The first paper will address Nathaniel Hawthorne's pathbreaking A Wonder Book for Boys and Girls (1851). Panelist # 1 will show how Hawthorne's dramatic frame and narrative technique emphasize the status of classical myths as the proper possession of modern children, whose free adaptations of those myths are truer to their original spirit than more rigid scholarly versions. Panelist # 2 will discuss historical fiction set in Roman Britain from the 1930's and 1940's, focusing on two examples, one primarily for boys, the other primarily for girls. These works figure Britain (and the provinces generally) as sites of greater freedom or renewed republican virtue by drawing on conceptions of America as a new frontier and site of utopian experiment.The third paper will concern the popular Percy Jackson series by Richard Riordan, an especially timely topic because of the recent movie version of the first in the series and because Riordan himself is based in San Antonio. Panelists # 3, who are experts in American literature and film studies, will situate the series in relation to the film thriller, especially in its construction of the adolescent hero Percy Jackson as a populist opponent to a malign superpower, here identified with the ancient gods. The fourth paper will provide a counterpoint to the previous three, turning away from narrative fiction aimed at a distinctly American audience to the newer and more international form of the video game. Panelist # 4 will discuss a recent example, the independent game Don't Look Back, in which the Orpheus myth provides the rules under which a player navigates the world of the game, setting the terms through which he or she experiences success, failure, or loss, and assesses the value of the past.

«ОРФЕЙ В АДУ»: ТРАНСФОРМАЦИЯ МИФА ОБ ОРФЕЕ И ЭВРИДИКЕ В РОМАНЕ Б. ПОПЛАВСКОГО «ДОМОЙ С НЕБЕС»

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.

Interpretation of the myth about Orpheus and Eurydice in Dino Buzzati’s “Poema a fumetti”

The article briefly describes Dino Buzzati’s biography and his creative path, like one of the most important Italian writer of the second half of the 20th century. Historical preconditions for the emergence of such a literary work as “Poema a fumetti” are examined, exact genre of the given artistic text, it means the genre of the graphic poem, is determined and the main features of every particular genre are described. Compositional analysis of the poem is carried out, main themes touched by Dino Buzzati are also described, the author’s point of view on the key questions of existential character (life and death, its sense, world order, etc.) is explained and comprehended. In this article a comparative analysis of the classical myth about Orpheus and Eurydice and its interpretation in “Poema a fumetti” is conducted. Main differences between the original myth and the poem are revealed. It is found that the myth of Orpheus and Eurydice is one of the most popular and it was used in various spheres of world art (in literature, painting, music, sculpture and cinema).

Мотивы древнегреческой мифологии в повести Гоголя Вий

The facts of Gogol's appeal to the models of classical forms of myth and ritual are interesting not only by themselves but also in the aspect of their relationship with the arsenal of Christian mythology. The fundamental point here is that in light of the historical interpretation of the myth and the Revelation by F. W. J. Schelling, the mythology since its initial stage organically developed to Christianity, to the truths of Revelation (as the historical movement “flowed” into them). The symbolic complex of the story Vij, interlacing with Eros and Thanatos, allows parallels to the myth of Orpheus and Eurydice since in the case of the story Vij and in the case of myth, the motive of prohibition on sight also holds. The philosopher (i.e. the poet in the archaic and romantic notion) Homa Brut comes into contact with the world of death not of his own free will, besides, the panicle Eurydice died because of him. Orpheus partakes of the Dionysian sacraments. A visit to Orpheus of hell equated him, in Christian understanding, with Christ. In Gogol's story Vij, Dionysus and Christ have implicitly come together. The motive of the story Vij for blindness is related to Oedipus's self-blindness motive. Mythological Erinnes, persecuted by Oedipus, are old women, which correlates with one of the chthonic incarnations of the plaque, thereby drawing closer to the goddesses of revenge, punishment, and remorse of conscience. The fact of the final recognition of Oedipus as “holy” is reflected in the potential Christian semantics of the image of Homa as a martyr and passion-bearer. As the winner of the witch, the deliverer of people from her misfortunes and the passion bearer Homa is a Christian ascetic. Against the background of Christian parallels, the second stay of Homa on the farm becomes as if his “second coming”, symbolically comparable to the expected second coming of Christ, who is coming all the time. The terrible glance of Vij and pannochka certainly reminds of the slaying glance of Medusa Gorgon, which forced all living things to petrify. There is pathos of fighting tyranny in ridding the farm from the witch by Homa. Although Homa defends himself first of all in the beating scene, the general social meaning of his action is obvious. The power of the pannochka (she is the daughter of a wealthy sotnik), who for some reason considers himself pious, is not only socio-political but, in the main, existential-anthropological, this domination over man as a species, over man as such. The motives of ancient Greek and in general pagan mythology are closely intertwined in Gogol's story with Christian motives, which formed the unique spiritual and aesthetic synthesis of the story Vij.

ARTYSTA I MIT. WOKÓŁ TREŚCI UCZUCIOWEJ REWOLUCJI ANDRZEJA WRÓBLEWSKIEGO

Niniejszy artykuł koncentruje się na obecności wyobraźni mitologicznej w twórczości jednego z najwybitniejszych malarzy powojennych. Autorka podejmuje w nim próbę zdefiniowania mitu obecnego w dziełach Andrzeja Wróblewskiego powstałych w latach czterdziestych i pięćdziesiątych. Zwraca uwagę na trzy możliwe sposoby jego odczytania. Stąd omówieniom poddaje mit orficki, mit odrzuconego artysty oraz mit nowego kosmosu. Interpretacja sztuki Andrzeja Wróblewskiego skierowana jest dodatkowo na omówienie kilku problemów, między innymi: statusu jego obrazów we współczesnej krytyce, rewersów biografii artystycznej, a także języków modernizmu, jakie od lat pięćdziesiątych funkcjonują w opowieściach o malarzu.

L’Orfeo: memory, recollection, and the tragedy of choosing between seeing and hearing

In the contrast between seeing and hearing at the centre of the myth of Orpheus, the duality of memory and recollection, in Aristotelian terms, emerges, allowing us to reconsider the role of Eurydice in Monteverdi’s L’Orfeo . When Orpheus, in a moment of frenzy and forgetfulness, turns back towards Eurydice he chooses the visibility of the eye over the audibility of the ear. The process of active recollection of the past, which he had initiated with the canzonetta Vi ricorda o boschi ombrosi , ends with the failure of music and the inability to retain the object of his love. Conversely, Eurydice’s words – Ahi, vista troppo dolce – after Orpheus looks at her, reveals a musical connection to past moments. In this way, her singing is the embodiment of the power of music and it creates a musical memory to which Orpheus does not have access.

Cinematic Signatures of Orpheus and Operatic Evocations

This paper traces the tradition of the myth of Orpheus and Eurydice from Ovid and Vergil through Poliziano to late Renaissance, Baroque, early classical, and early twentieth-century opera as antecedents to Cocteau's Orphee and a number of contemporary films, including Imagining Argentina, Slumdog Millionaire, The City of Your Final Destination, Rabbit Hole, Remember Me, and The Book of Life. Because tragic and non-tragic endings are not reliable identifiers in the Orpheus tradition, the paper focuses on such narrative signatures as retrieval from death, playing a stringed instrument in the face of death, and dying twice.

Mit orfejski à rebours. O Pieśni tryumfującej miłości Tadeusza Micińskiego

Autorka interpretuje poemat prozą Tadeusza Micińskiego jako transpozycję mitu o Orfeuszu. Rozważaniami obejmuje przy tym nie tylko mit orfejski, ale i doktrynę orficką. Analizy sytuuje na szerokim tle podkreślającym znaczenie muzyki w Młodej Polsce. Odnotowuje kontakty pisarza z kompozytorami, reperkusje jego pobytu w Hellerau, a także utwory, w których tematyzował muzykę. W takiej perspektywie dokonuje analizy Pieśni tryumfującej miłości.

Мотивы мифа об Орфее и Эвридике в романе М. А. Булгакова «Мастер и Маргарита»

Мотивы мифа об Орфее и Эвридике в романе М. А. Булгакова «Мастер и Маргарита»

A retradução do poema a Fumetti de Dino Buzzati: Uma reescritura pós-ideológica?

Em 1969, Dino Buzatti publica seu Poema a fumetti [Poema em quadrinhos], uma obra sui generis, a meio-caminho entre o poema ilustrado e a estória em quadrinhos, na qual o artista nos oferece um mito de Orfeu atualizado, transformado pela contemporaneidade dos anos 1960. Poema a fumetti conhece, a seguir, duas traduções na França: a de Max Gallo e Antoine Ottavi, publicada apenas um ano após a aparição da obra italiana, e publicada pela Laffont sob o título Poème-bulles [Poema--balão de fala] (1970), e a de Charlotte Lataillade, publicada pela Actes Sud sob o título Orfi aux enfers [Orfi no inferno] (2007). A análise da retradução torna evidente da parte da tradutora um desejo de elucidação e/ou de atualização beirando à desaparição das referências buzzatianas em um contexto ideológico preciso, os anos 1960 marcados pela contestação, transgressão, pelos inícios da liberação sexual, e por uma secularização conduzindo à toda a sociedade italiana. No fim das contas, a retradução parece uma obra pós-ideológica que corre o risco de alimentar, ao menos na França, uma visão de Buzzati limitada à dimensão do fantástico e estranha aos interesses sociopolíticos de seu tempo.

Harrison Birtwistle’s “Orpheus-Project”: Images of Melancholy

British composer Harrison Birtwistle (b. 1934) is considered to be one of the most striking figures of contemporary classical music. The most important idea which crosses many of his pieces is the multiple embodiment of the Orpheus myth. Orpheus is interpreted not only as a person with his own tragedy, but also becomes an umbrella phenomenon embracing his mythic brother Linos, his wife Euridice, and different aspects of the voyage to the Underworld: wandering in the kingdom of Hades, conducting a dialog with the King of the Dead, as well as various-level reflections on the whole myth (allegoric, metaphoric, symbolic). Embodying all these aspects, the composer takes a wide range of texts (from Ausonius and Boethius, to Christopher Logue and Sir Thomas Wyatt, to Rainer Maria Rilke and Peter Zinoviev) and produces a number of works of different genres: instrumental pieces (Linoi), cantatas (The Death of Orpheus, Meridian), choral compositions (Fields of Sorrow, On the Threshold of the Night), operas (The Mask of Orpheus, The Corridor), and song cycles (Orpheus Elegies). Thus, Birtwistle’s reflections on Orpheus form a series of works that display the whole range of images and situations contained in the myth, taken from different angles that can be compared to Picasso’s famous series of reinterpretations of Las Meninas. One feature common to all these compositions is:that they are emotionally charged with a deep melancholy characteristic of a composer who recognizes in himself this kind of temperament as his peculiarity, and inspired by his famous predecessor, Durer and Dowland.

Χαῖρε Ὀρφεῦ! Perception of a Mystery: The Images of the Myth of Orpheus on Ancient Coins

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.

A Poetic Re-Telling of the Orphic Myth: A Political Study of Denise Levertov’s “A Tree Telling of Orpheus”

Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.