ORPHIC CRITICAL TESTIMONY 72
OTTO KERN
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For links to many more fragments: The Orphic Fragments of Otto Kern.
SUMMARY: This testimony consists of two quotations from the Metamorphoses of Ovid, in which Orpheus descends to the Underworld and petitions Pluto and Persephone for the return of his wife; and when he sang all wept, and at last Eurydice was summoned.
ORPHIC CRITICAL TESTIMONY 72.
Publii Ovidii Nasonis Metamorphoses X 11:
Quam (sc. Eurydicen) satis ad superas postquam Rhodopeius auras
deflevit vates, ne non temptaret et umbras,
ad Styga Taenaria est ausus descendere porta
perque leves populos simulacraque functa sepulcro
Persephonen adiit inamoenaque regna tenentem
umbrarum dominum pulsisque ad carmina nervis
sic ait: “o positi sub terra numina mundi,
in quem reccidimus, quidquid mortale creamur,
si licet et falsi positis ambagibus oris
vera loqui sinitis, non huc, ut opaca viderem
Tartara, descendi, nec uti villosa colubris
terna Medusaei vincirem guttura monstri:
causa viae est coniunx, in quam calcata venenum
vipera diffudit crescentesque abstulit annos.
“After the bard
of Rhodope (ed. Orpheus) had mourned, and filled the highs
of heaven with the moans of his lament,
determined also the dark underworld
should recognize the misery of death,
he dared descend by the Taenarian gate
down to the gloomy Styx. And there passed through
pale-glimmering phantoms, and the ghosts
escaped from sepulchres, until he found
Persephone and Pluto, master-king
of shadow realms below: and then began
to strike his tuneful lyre, to which he sang:—
“O deities of this dark world beneath
the earth! this shadowy underworld, to which
all mortals must descend! If it can be
called lawful, and if you will suffer speech
of strict truth (all the winding ways
of Falsity forbidden) I come not
down here because of curiosity
to see the glooms of Tartarus and have
no thought to bind or strangle the three necks
of the Medusan Monster, vile with snakes.
But I have come, because my darling wife
stepped on a viper that sent through her veins
death-poison, cutting off her coming years.”
(trans. Brookes More, 1922)
Publii Ovidii Nasonis Metamorphoses X 40:
Talia dicentem nervosque ad verba moventem
exsangues flebant animae: nec Tantalus undam
captavit refugam, stupuitque Ixionis orbis,
nec carpsere iecur volucres, urnisque vacarunt
Belides, inque tuo sedisti, Sisyphe, saxo.
tunc primum lacrimis victarum carmine fama est
Eumenidum maduisse genas, nec regia coniunx
sustinet oranti nec qui regit ima negare,
Eurydicenque vocant: umbras erat illa recentes
inter et incessit passu de vulnere tardo.
“While he sang all his heart said to the sound
of his sweet lyre, the bloodless ghosts themselves
were weeping, and the anxious Tantalus
stopped clutching at return-flow of the wave,
Ixion’s twisting wheel stood wonder-bound;
and Tityus’ liver for a while escaped
the vultures, and the listening Belides
forgot their sieve-like bowls and even you,
O Sisyphus! sat idly on your rock!
“Then Fame declared that conquered by the song
of Orpheus, for the first and only time
the hard cheeks of the fierce Eumenides
were wet with tears: nor could the royal queen,
nor he who rules the lower world deny
the prayer of Orpheus; so they called to them
Eurydice, who still was held among
the new-arriving shades, and she obeyed
the call by walking to them with slow steps,
yet halting from her wound.”
(trans. Brookes More, 1922)
Similar others are brought together in Gruppe as found in Rosch. III 1160.
The story of the birth of the Gods: Orphic Theogony.
We know the various qualities and characteristics of the Gods based on metaphorical stories: Mythology.
Dictionary of terms related to ancient Greek mythology: Glossary of Hellenic Mythology.
Introduction to the Thæí (the Gods): The Nature of the Gods.
How do we know there are Gods? Experiencing Gods.
