orphic


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Related to orphic: Orphic Mysteries
See: recondite
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Arguments for the Understanding of God in Clement of Alexandria: Orphic Infuences in Stromata V
Again in the sense of eternal return(s) of compatible literary and mythical data, this example shows one of the many intertextual links and similarities not only with Vergil, but also with authors such as Monteverdi and Gluck, who used the first Georgics for the librettos of their operas based on Orphic myth.
King's suggestion of the Hellenistic period (the same time as the Orphic Argonautika) as a likely date for the poem is unlikely in view of the poem's explicit reference to divination, which suggests the political use of magic in predicting who would next become emperor.
Campana quoted passages from Leaves both in his notebooks (including passages from "So Long," "To a Locomotive, in Winter," "Bivouac on a Mountain Side," and "Whispers of Heavenly Death") and in Orphic Songs itself.
During European Classicism or Romanticism, there were attempts to redress this disjunction through the significations of the reactivated orphic myth (The Blinding of Orpheus).
The immersion of the "Orphic Apollo" (Wolf 144) into the lower nature and the subsequent withdrawal into the intelligible has as ultimate goal the imparting of "salvific knowledge-Gnosis" (Riffard 60) to the prisoners of illusions and imperfect knowledge.
Two are of the utmost importance: shamanism lato sensu and the Mysteries (Isiac, Mithraic, Orphic, Dionysian, Eleusinian Mysteries...).
The well-known story of Orpheus as referred to in the Ashberypoem ends in a kind of apotheosis, so the entire work is set in theframe of the Orphic cult that grew up around the musician when, afterhis dismemberment, his head, still singing, floated across the AegeanSea from Greece to Asia Minor, and its burial place became ashrine.
Articulated in Jeyifo's book, the concepts--nativistic, orphic, militant, cosmopolitan--are defined as follows.
This section studies the case of poets, Garcilaso de la Vega (Third Ecglogue) and Jorge de Montemayor (La Diana), who present themselves as orphic voices.
These are: chapter I ("Poiesis and Modernity at the Turn of the Spanish Sixteenth Century: Luis Alfonso de Carvallo and the Cisne de Apolo (1602)" by Leah Middlebrook); chapter 2 ("'Orphic Fictions': Poesia and Poiesis in Cervantes" by Anthony Cascardi); and chapter 4 ("Encyclopedia, Poiesis, and Modernity" by Marina Brownlee).
Unfortunately, not even the Orphic and Virgilian figure of Nuto is able to break from the binding cycle in which agency is a downfall.