“Music, through the sweetness of its melody, brings pleasure and comfort to the soul.” This citation by Nigel Wilkin in “Music in the Age of Chaucer” ascribes a special own form of power to music; the power to affect someone’s soul. Also in the poem of Orpheus and Eurydice by the Scottish poet Robert Henryson , music plays a decisive role and implies a special power to the protagonist. The poem, which approximately was written in the late fifteenth century, leans on the Greek myth of Orpheus.
King Orpheus, who is introduced as the grandson of Memoria and Jupiter, the son of the “michty god Phebuss“ and the muse Caliope, “that madin mervalouss,/ The ferd sistir, of all musik maistress“, gains his bond to music through his mother’s milk, quod vide “gart him souk of hir twa paupis quhyte/ The sueit lecour of all musik perfyte“.
Henryson describes Orpheus as “fair and wyse,/ Gentill and gud, full of liberalitie”. His “noble fame“ was extensive, so that the queen of “Trace”, called Eurydice, heard about him, too. They get married and live their life full of happiness, pleasure and enjoyment.
Table of Contents
1. Introduction
2. The concept of music
2.1. Music in the Middle Ages
2.2. Music in Orpheus and Eurydice
3. Conclusion
Objectives and Research Themes
This research paper explores the fundamental role and symbolic power of music within Robert Henryson's poem "Orpheus and Eurydice". By analyzing the intersection of medieval musical theory and the classical myth of Orpheus, the paper investigates how music functions as both a narrative device and a reflection of the medieval worldview concerning harmony, mathematics, and divine order.
- The medieval perception of music as a mathematical and scientific discipline.
- The role of music as a "mirror of Universal Order" (speculum).
- Henryson's application of music-related technical terminology to characterize Orpheus.
- The power of music to affect the physical and spiritual realms, including the underworld.
- The structural connection between poetic meter and medieval musical harmony.
Excerpt from the Book
2.2. Music in Orpheus and Eurydice
The poem of Orpheus and Eurydice, an adaption of the Greek story of Orpheus was, as mentioned in the introduction, written by Robert Henryson in the late fifteenth century. In his interpretation Henryson divides into two parts. The first one tells the classical story of Orpheus and Eurydice by concentrating on Orpheus’s genealogy, his mourning about the loss of his wife Eurydice and his failure to retrieve her from the underworld. The second one is called the Moralitas, which attends to the moral aspects of the story.
The poem consists of 633 lines and serves the rhyme royal stanza, a rhyming stanza of seven lines in iambic pentameter with the rhyme scheme a-b-a-b-b-c-c, which reflects the common form of the narrative metre in the Middle Ages. By that Henryson keeps the linear conception of the medieval literature as well as in music. The only change in style in form of ten-line stanzas takes place from “O dulfull herp with mony dully string,/ Turne all thy mirth and musik in murning” (Henryson lines 134-135) to “King Orpheuss thus with his harp alone/ Sore wepit for his wyf Erudices” (Henryson lines 183-184) to intensify Orpheus’s mourning about the loss of Eurydice.
To illustrate the concept of music within the story line, it is necessary to go through the poem by focusing on the music-oriented parts.
In the beginning Henryson thoroughly describes the noble lineage of Orpheus. His grandmother is the goddess Memoria, who married Jupiter and gave birth to the nine Muses, the goddesses of the inspiration of arts, science and literature. One of these muses, Caliope, the mistress of all music is also introduced as Orpheus’s mother and the wife of the god Phoebus, Orpheus’s father.
Summary of Chapters
1. Introduction: This chapter introduces the poem "Orpheus and Eurydice" by Robert Henryson and establishes the thematic importance of music as a transformative and powerful force for the protagonist.
2. The concept of music: This chapter provides a historical overview of music in the Middle Ages and explores its practical and symbolic applications in Robert Henryson's poem.
2.1. Music in the Middle Ages: This section defines the medieval understanding of music as a science of proportions and numbers, and its role as a mirror of the universal order.
2.2. Music in Orpheus and Eurydice: This section analyzes how Henryson integrates musical technicality into his poem to portray Orpheus as an educated musician and master of harmonies.
3. Conclusion: This chapter synthesizes the findings, confirming that both the structure and the narrative content of the poem align perfectly with medieval concepts of music.
Keywords
Robert Henryson, Orpheus and Eurydice, Middle Ages, Music Theory, Musica Mundana, Quadrivium, Rhyme Royal, Harmony, Universal Order, Harp, Medieval Literature, Symbolic Music, Mathematical Proportions, Mythology, Divine Extraction.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines the concept and symbolic power of music in Robert Henryson's fifteenth-century poem "Orpheus and Eurydice," specifically looking at how it reflects medieval musical philosophy.
What are the central themes discussed in the work?
Key themes include the medieval definition of music as a mathematical science, the connection between music and the universe (musica mundana), and the depiction of music as an influential power over both nature and the underworld.
What is the main research question of this study?
The study aims to demonstrate how Henryson’s depiction of Orpheus's music aligns with the specific medieval concepts of music as a science and as a structural element of the universe.
Which scientific methods are employed in this analysis?
The author uses a literary analysis approach, contextualizing the poem within historical and musicological frameworks of the Middle Ages, citing primary and secondary scholarly sources.
What does the main body of the paper cover?
The main body defines the historical context of medieval music, analyzes the narrative structure of Henryson’s poem, and explores specific scenes where Orpheus's musical skill impacts the environment or mythical beings.
Which keywords define this academic work?
Core keywords include Robert Henryson, Orpheus and Eurydice, Medieval music, Harmony, Quadrivium, and Mythological symbolism.
How does Henryson portray Orpheus as a musician?
Henryson depicts Orpheus not just as a talented harpist, but as a "musical theorist" who has been educated in the spheres and understands the mathematical laws governing harmonic proportions.
What role does the harp play in the narrative?
The harp serves as the primary medium through which Orpheus exercises his power, allowing him to lull mythical creatures to sleep and ultimately persuade the rulers of the underworld to release Eurydice.
- Arbeit zitieren
- Agnetha Hinz (Autor:in), 2012, The Concept of Music in Robert Henryson’s "Orpheus and Eurydice", München, GRIN Verlag, https://www.hausarbeiten.de/document/302899
