The Orphic Blessing

E. Bikerman
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引用次数: 1

Abstract

Qrpheus is primarily associated with the magic influence of his lyre, whose notes enchanted the wild beasts, the trees and the lifeless rocks. But Orpheus is not merely the greatest of legendary musicians; he was also an inspired theologian' who discovered and revealed the way to Immortality and exhorted men "to escape from death."'2 The music of Orpheus' lyre enchanted even the implacable lord of Hades. The alliance between theology and music is not so surprising as it sounds, for music was closely related to charms and incantations,3 and the Greeks considered music to have a civilising influence, which the merely 'technical' arts did not possess. The historian and statesman, Polybius, asserts that music has a soothing effect upon men; and in seeking to explain the savage nature of the Cynaetheans in Arcadia, he remarks: "I believe the reason was that they were the only people in Arcadia to abandon the practice of music."4 One Orphic book specifically denied that "Souls can ascend (to heaven) without a lyre."5 In the art of the Roman catacombs, where representations of Orpheus charming all nature with his playing are frequent, the magic power of his music becomes a symbol of the Christian Logos that overcomes even a heart of stone.6 The followers of the Orphic cult were the first among the Greeks to formulate (about 6oo B.C.) the solemn doctrine that our destiny in the Beyond is dependent entirely on our earthly conduct. The theory of reincarnation takes shape in various cultures, but it usually assumes the form of an automatic process;7 whereas in Orphism, metampsychosis becomes an integral part of a moral doctrine. During the cycle of rebirths the fallen soul was gradually absolved from its sins by saving faith and sacraments. From Heraclitus to the Neoplatonists, the Greek mind was fascinated by this theory that the destiny of each soul depends on its merits. We find it expressed by Plato, whose use of Orphic speculation on metempsychosis gave it a wide influence.8 Later the musical teacher of the religion of salvation was taken over by the Jews and Christians. In an apocryphal "testament" of Orpheus, forged by a Jew of Alexandria, the "first preceptor"
奥尔甫斯的祝福
Qrpheus主要与他的七弦琴的魔力联系在一起,他的音符使野兽、树木和没有生命的岩石着迷。但俄耳甫斯不仅是最伟大的传奇音乐家;他也是一位受启发的神学家,发现并揭示了通往永生的道路,并劝诫人们“逃离死亡”。俄耳甫斯七弦琴的音乐甚至迷住了冷酷无情的冥王哈迪斯。神学与音乐的结合并不像听起来那么令人惊奇,因为音乐与符咒和咒语密切相关,而且希腊人认为音乐具有教化的影响,这是单纯的技术艺术所不具备的。历史学家和政治家波利比乌斯断言,音乐对人有一种舒缓的作用;在试图解释阿卡迪亚的辛尼西亚人的野蛮本性时,他说:“我相信原因是他们是阿卡迪亚唯一放弃音乐实践的人。”一本俄耳甫斯教派的书特别否认“灵魂不用竖琴也能升入天堂”。在罗马地下墓穴的艺术中,俄耳甫斯用他的演奏迷住了整个大自然的形象经常出现,他的音乐的魔力成为基督教Logos的象征,甚至征服了铁石之心奥尔甫斯崇拜的追随者是希腊人中最早提出(大约公元前600年)庄严教义的人,他们认为我们在来世的命运完全取决于我们现世的行为。轮回理论在各种文化中形成,但它通常采用自动过程的形式;7而在俄耳甫斯派中,转生成为道德教义的一个组成部分。在重生的循环中,堕落的灵魂通过救赎的信仰和圣礼逐渐从罪恶中得到赦免。从赫拉克利特(Heraclitus)到新柏拉图主义者(Neoplatonists),希腊人的思想都着迷于这样一种理论:每个灵魂的命运取决于它的优点。柏拉图也表达了这一观点,他运用俄耳甫斯关于轮回的思辨,对这一观点产生了广泛的影响后来,这位拯救宗教的音乐老师被犹太人和基督徒所取代。俄耳甫斯的“遗嘱”是由亚历山大的一个犹太人伪造的,他是俄耳甫斯的“第一位导师”。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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