What do you think?
Rate this book
The Last Song of Orpheus
In the course of his extraordinary—and prolific—career, Robert Silverberg has made an enormous contribution to imaginative literature. In The Last Song of Orpheus, his longest story in more than a decade, Silverberg has given us one of his most remarkable accomplishments, a resonant recreation of one of the central myths of western civilization.
In this mesmerizing narrative, Orpheus—wanderer, demigod, and master musician—recounts his own astonishing story. That story ranges from the depths of the Underworld, where he attempts to rescue his beloved but doomed Eurydice, to the farthest, most dangerous corners of the ancient world, where he journeys in search of the legendary Golden Fleece. It is a tale of men and gods, of miraculous encounters, of the binding power of inescapable Fate. More than that, it is a meditation on the power of the creative spirit, and on the eternal human search for balance and harmony in a chaotic universe. Beautifully constructed and masterfully written, The Last Song of Orpheus is Silverberg at his incomparable best, showing us a deeply familiar series of scenes, themes, and characters from a fresh, wholly original perspective.
In this mesmerizing narrative, Orpheus—wanderer, demigod, and master musician—recounts his own astonishing story. That story ranges from the depths of the Underworld, where he attempts to rescue his beloved but doomed Eurydice, to the farthest, most dangerous corners of the ancient world, where he journeys in search of the legendary Golden Fleece. It is a tale of men and gods, of miraculous encounters, of the binding power of inescapable Fate. More than that, it is a meditation on the power of the creative spirit, and on the eternal human search for balance and harmony in a chaotic universe. Beautifully constructed and masterfully written, The Last Song of Orpheus is Silverberg at his incomparable best, showing us a deeply familiar series of scenes, themes, and characters from a fresh, wholly original perspective.
136 pages, Kindle Edition
First published September 30, 2010
9 people are currently reading
219 people want to read
About the author
Robert Silverberg
2,339 books1,593 followersThere are many authors in the database with this name.
Robert Silverberg is a highly celebrated American science fiction author and editor known for his prolific output and literary range. Over a career spanning decades, he has won multiple Hugo and Nebula Awards and was named a Grand Master by the Science Fiction and Fantasy Writers of America in 2004. Inducted into the Science Fiction and Fantasy Hall of Fame in 1999, Silverberg is recognized for both his immense productivity and his contributions to the genre's evolution.
Born in Brooklyn, he began writing in his teens and won his first Hugo Award in 1956 as the best new writer. Throughout the 1950s, he produced vast amounts of fiction, often under pseudonyms, and was known for writing up to a million words a year. When the market declined, he diversified into other genres, including historical nonfiction and erotica.
Silverberg’s return to science fiction in the 1960s marked a shift toward deeper psychological and literary themes, contributing significantly to the New Wave movement. Acclaimed works from this period include Downward to the Earth, Dying Inside, Nightwings, and The World Inside. In the 1980s, he launched the Majipoor series with Lord Valentine’s Castle, creating one of the most imaginative planetary settings in science fiction.
Though he announced his retirement from writing in the mid-1970s, Silverberg returned with renewed vigor and continued to publish acclaimed fiction into the 1990s. He received further recognition with the Nebula-winning Sailing to Byzantium and the Hugo-winning Gilgamesh in the Outback.
Silverberg has also played a significant role as an editor and anthologist, shaping science fiction literature through both his own work and his influence on others. He lives in the San Francisco Bay Area with his wife, author Karen Haber.
Robert Silverberg is a highly celebrated American science fiction author and editor known for his prolific output and literary range. Over a career spanning decades, he has won multiple Hugo and Nebula Awards and was named a Grand Master by the Science Fiction and Fantasy Writers of America in 2004. Inducted into the Science Fiction and Fantasy Hall of Fame in 1999, Silverberg is recognized for both his immense productivity and his contributions to the genre's evolution.
Born in Brooklyn, he began writing in his teens and won his first Hugo Award in 1956 as the best new writer. Throughout the 1950s, he produced vast amounts of fiction, often under pseudonyms, and was known for writing up to a million words a year. When the market declined, he diversified into other genres, including historical nonfiction and erotica.
Silverberg’s return to science fiction in the 1960s marked a shift toward deeper psychological and literary themes, contributing significantly to the New Wave movement. Acclaimed works from this period include Downward to the Earth, Dying Inside, Nightwings, and The World Inside. In the 1980s, he launched the Majipoor series with Lord Valentine’s Castle, creating one of the most imaginative planetary settings in science fiction.
Though he announced his retirement from writing in the mid-1970s, Silverberg returned with renewed vigor and continued to publish acclaimed fiction into the 1990s. He received further recognition with the Nebula-winning Sailing to Byzantium and the Hugo-winning Gilgamesh in the Outback.
Silverberg has also played a significant role as an editor and anthologist, shaping science fiction literature through both his own work and his influence on others. He lives in the San Francisco Bay Area with his wife, author Karen Haber.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 26 of 26 reviews
January 1, 2012
Dream-like, disorientating and delicious describes perfectly my thoughts about this lyrical novella by one of the true masters of speculative fiction. In The Last Song of Orpheus, Silverberg faithfully, yet engagingly, retells the life story or Orpheus through the demi-god’s own first-person narrative.
While some might argue that there is nothing really new here, I would counter (with much huffing and puffing) that I believe Silverberg adds two new pieces to the body of the well known “Orpheus Cycle” that make this a worthwhile addition and well worth reading, even for those familiar with the story of the demi-god. First, Silverberg ratchets up the pathos by showing Orpheus as an eternally tragic figure doomed by Fate to forever relive the various aspects of his life in a continual, never-ending cycle. As Orpheus describes it:
THIS WILL BE my last song, which I make for you, Musaeus my son, telling all there is to tell of my life. My last song, but also my first, for in the my end is my beginning, and for me there are no end and no beginnings but only the circle that is eternity...Time, curves round itself and grasps its tail in its mouth. I stand outside; I contain evereything; I perceive the alpha and the omega and for me they do not have the same order of being and arrangement that they do for you...My yesterdays are my tomorrows, my tomorrows are my yesterdays. It is decreed that I must forever reenact my past, which is indistinguishable from my future, both of them constituting an eternal present.This massive, ever-after burden of memory, time and loss gives the story of Orpheus an even more epic quality and imbues the narrative with a greater sense of power and importance.
Score one for Robert.
The second of Silverberg’s contributions is his scholarly gathering of all of the inconsistent, fragmentary and scattered stories of Orpheus and bringing them together into a cohesive framework that not only supplies answers to the various inconsistencies, but also provides an ingenious explanation for why the tales of Orpheus are so diverse and dispersed. Again, Silverberg takes a powerful, familiar story and injects a massive dose of scale and importance to it. The man is just good!!
Score two for Robert.
Using this first person narrative, Orpheus seamlessly recounts his life. From the gift of his legendary lyre by the sun god Apollo, to the meeting of Eurydice, their powerful but fleeting love affair and the tragic and deeply moving story of Eurydice’s twin deaths.
We see Orpheus with the pharaohs of Egypt and his epic journey with
Jason and the Argonauts to recover the Golden Fleece. Finally, we are mute witnesses to the demi-god's violent and tragic death(?) that Silverberg masterfully describes with an understated, detached quality that added real force to the scene.
Throughout this brief novella, we see the life of Orpheus as something both intimately recognizable and cosmically mysterious...exactly as the author intended. Silverberg’s prose, as usual, is deft, fluid and grandmasterish in its execution and perfectly complements the ephemeral tone of the tale. I found the story silky and breezy yet moving and subtly powerful.
This is myth done right and I dub this novella a successful return of one of the best in the business.
4.0 stars HIGHLY RECOMMENDED!!
November 4, 2024
Le livre est bien écrit, le plume est travaillée.
On retrouve les éléments principaux du mythe… et c’est tout. En gros on relit un mythe fort bien connu, mais réécrit pour atteindre la centaine de pages : c’est trop court pour développer ou ajouter quelque chose, et j’ai eu cette sensation de « trop rapide » sur tous les sujets.
Je suis donc déstabilisée : ce n’est pas une réécriture approfondie comme Circé ou Le Dernier Chant d’Achille, et ce n’est pas non plus la version strictement d’origine. Donc, pourquoi ce livre, si on n’apprend rien ?
Certes, comme le titre l’indique, c’est le chant d’Orphée qui raconte sa vie à Musée,son fils, mais il y avait quand même moyen de développer ! D’ailleurs :
- On nous parle d’un fils, sauf qu’Eurydice meurt très vite et qu’après ça Orphée se vante de ne jamais avoir eu d’autre femme … donc Musée, d’où sort-il ?
- Dans son recit, Orphée ne parle jamais d’un enfant quelconque, ni du moment pendant lequel il raconte sa vie.
Mais le gros problème que j’ai eu avec ce livre, ce sont les personnages. J’ai trouvé Orphée froid comme un congélateur, très distant du lecteur. Il se soumet bien volontiers à la fatalité, est spectateur de sa propre tragédie, sans la moindre once de lutte. J’avais l’impression d’écouter un pantin, une statue en pierre qui débite son discours écrit sans intonation, mais qui ne ressent rien. Pourtant, Orphée, c’est le musicien qui charme même les dieux et les monstres, bon sang ! Il parle de son amour pour Eurydice, de son chagrin… et ça ne m’a fait ni chaud ni froid. Pourtant j’ai la larme facile.
Même Eurydice est dans ce cas. On sait une seule chose d’elle : elle est belle. Résumé un peu sommaire du personnage qui, j’imagine, ne se limite peut être pas qu’à ça. Tant qu’à reprendre le mythe, pourquoi ne pas creuser un peu tout ça ?
Le personnage le plus intéressant du lot, au final, c’était Médée.
J’ai buggé sur Ééa : j’étais persuadée que c’était l’île de Circé, pas la capitale de Colchide que gouverne Aetes.
En bref, je n’ai pas apprécié cette version d’Orphée, mais ça reste bien écrit (c’est ce qui sauve). Pour l’empathie on repassera, et c’est dommage, car c’est exactement ce que j’attendais d’Orphée.
On retrouve les éléments principaux du mythe… et c’est tout. En gros on relit un mythe fort bien connu, mais réécrit pour atteindre la centaine de pages : c’est trop court pour développer ou ajouter quelque chose, et j’ai eu cette sensation de « trop rapide » sur tous les sujets.
Je suis donc déstabilisée : ce n’est pas une réécriture approfondie comme Circé ou Le Dernier Chant d’Achille, et ce n’est pas non plus la version strictement d’origine. Donc, pourquoi ce livre, si on n’apprend rien ?
Certes, comme le titre l’indique, c’est le chant d’Orphée qui raconte sa vie à Musée,son fils, mais il y avait quand même moyen de développer ! D’ailleurs :
- On nous parle d’un fils, sauf qu’Eurydice meurt très vite et qu’après ça Orphée se vante de ne jamais avoir eu d’autre femme … donc Musée, d’où sort-il ?
- Dans son recit, Orphée ne parle jamais d’un enfant quelconque, ni du moment pendant lequel il raconte sa vie.
Mais le gros problème que j’ai eu avec ce livre, ce sont les personnages. J’ai trouvé Orphée froid comme un congélateur, très distant du lecteur. Il se soumet bien volontiers à la fatalité, est spectateur de sa propre tragédie, sans la moindre once de lutte. J’avais l’impression d’écouter un pantin, une statue en pierre qui débite son discours écrit sans intonation, mais qui ne ressent rien. Pourtant, Orphée, c’est le musicien qui charme même les dieux et les monstres, bon sang ! Il parle de son amour pour Eurydice, de son chagrin… et ça ne m’a fait ni chaud ni froid. Pourtant j’ai la larme facile.
Même Eurydice est dans ce cas. On sait une seule chose d’elle : elle est belle. Résumé un peu sommaire du personnage qui, j’imagine, ne se limite peut être pas qu’à ça. Tant qu’à reprendre le mythe, pourquoi ne pas creuser un peu tout ça ?
Le personnage le plus intéressant du lot, au final, c’était Médée.
J’ai buggé sur Ééa : j’étais persuadée que c’était l’île de Circé, pas la capitale de Colchide que gouverne Aetes.
En bref, je n’ai pas apprécié cette version d’Orphée, mais ça reste bien écrit (c’est ce qui sauve). Pour l’empathie on repassera, et c’est dommage, car c’est exactement ce que j’attendais d’Orphée.
December 18, 2010
ORIGINALLY POSTED AT Fantasy Literature.
Finally. After all of the conflicting information we get from the numerous myths, legends, writings, and operas about Orpheus, we have the true story told by Orpheus himself as he writes his life story for Musaeus (with some help from Robert Silverberg).
In The Last Song of Orpheus, all the bits and pieces of Orpheus's life are tied together into a single chronological narrative and Orpheus tells his own version of how he obtained his famous lyre and used it to charm Pharaoh, the Furies, Persephone, Charon the Styx ferryman, and Cerberus the three-headed dog. He also tells the tale of his disastrous voyage with Jason and the Argonauts when they set out to recover the Golden Fleece and he relates some juicy tidbits about other heroes of legend such as Heracles and (my favorite) Odysseus. Some things he's kept to himself, "neither confirming nor denying" popular rumor, but he does take the chance to explain why he turned back and looked at Eurydice as they were leaving the Underworld.
There's not much new in The Last Song of Orpheus — you've likely heard these stories before. But there is much beauty here:
There is no sound like the sound of the lyre. It does not pierce one's ears like the sound of the flute, nor does it shake the hills like a properly struck drum, nor set the heart atremble with warlike impulses like the cry of the trumpet. But it achieves other things, and they are great things, for it is perfect for the accompaniment of the human voice, fitting the contours of the singing tone the way a woman's body fits a man's.
I especially enjoyed listening to Orpheus explain how "music is the divine mathematics" and that the universe, with its planets and moons in perfect relation to each other, like the chromatic scale, is really an infinitely large "harmonious mathematical structure." He implies also that the inner workings of a single cell are likewise arranged, and these ideas, I think, are truly beautiful.
Finally. After all of the conflicting information we get from the numerous myths, legends, writings, and operas about Orpheus, we have the true story told by Orpheus himself as he writes his life story for Musaeus (with some help from Robert Silverberg).
In The Last Song of Orpheus, all the bits and pieces of Orpheus's life are tied together into a single chronological narrative and Orpheus tells his own version of how he obtained his famous lyre and used it to charm Pharaoh, the Furies, Persephone, Charon the Styx ferryman, and Cerberus the three-headed dog. He also tells the tale of his disastrous voyage with Jason and the Argonauts when they set out to recover the Golden Fleece and he relates some juicy tidbits about other heroes of legend such as Heracles and (my favorite) Odysseus. Some things he's kept to himself, "neither confirming nor denying" popular rumor, but he does take the chance to explain why he turned back and looked at Eurydice as they were leaving the Underworld.
There's not much new in The Last Song of Orpheus — you've likely heard these stories before. But there is much beauty here:
There is no sound like the sound of the lyre. It does not pierce one's ears like the sound of the flute, nor does it shake the hills like a properly struck drum, nor set the heart atremble with warlike impulses like the cry of the trumpet. But it achieves other things, and they are great things, for it is perfect for the accompaniment of the human voice, fitting the contours of the singing tone the way a woman's body fits a man's.
I especially enjoyed listening to Orpheus explain how "music is the divine mathematics" and that the universe, with its planets and moons in perfect relation to each other, like the chromatic scale, is really an infinitely large "harmonious mathematical structure." He implies also that the inner workings of a single cell are likewise arranged, and these ideas, I think, are truly beautiful.
March 17, 2012
The Last Song of Orpheus is an interesting novella, drawing together the various legends and scraps of lore about Orpheus, and weaving them into a coherent whole, ironing out the contradictions and unifying everything with a few little additions of Silverberg's own. Parts of it are very beautiful, prose-wise, and the overall idea enchanted me.
There's something about the narration that's just a bit too distant, somehow. In one way it suits the story very well, matching the mythic register; in another way, it bothers me. Even when he's singing of his loss of Eurydice, he's also outside the pain, accepting and transcending it. And again, in a way that's effective and quite right for his character and the way Silverberg sets up his story, but... It didn't quite work for me.
This is definitely worth a read, though, if you're interested in Greek/Roman myths and especially the story of Orpheus. It's a very interesting reinterpretation.
There's something about the narration that's just a bit too distant, somehow. In one way it suits the story very well, matching the mythic register; in another way, it bothers me. Even when he's singing of his loss of Eurydice, he's also outside the pain, accepting and transcending it. And again, in a way that's effective and quite right for his character and the way Silverberg sets up his story, but... It didn't quite work for me.
This is definitely worth a read, though, if you're interested in Greek/Roman myths and especially the story of Orpheus. It's a very interesting reinterpretation.
May 1, 2019
Robert Silverberg needs no introduction, as he's one of the big names in SFF-history. It did take me a while to discover his works and so far, I've only read Downward to the Earth, which I can surely recommend. See my review here.
One of his last works is the 2010 novella 'The Last Song of Orpheus', which was translated into French in 2012 and published by Éditions ActuSF. Now, seven years later, a new edition is available, released in April 2019. The novella was translated by Jacqueline Callier and Florence Dolisi.
The French version comes with a foreword by Pierre-Paul Durastanti, the novella itself, and an interview with Mr Silverberg (conducted by Éric Holstein, whose D'or et d'Emeraude is on my TBR-list). The new cover was made by Benjamin Chaignon.
----------
'Le Dernier Chant d'Orphée' is a rewriting of the Greek myth in which half-god Orpheus falls in love with the nymph Eurydice, but this love and relationship doesn't last long. Died by the bite of a snake, she arrives in the Underworld, home of Hades and Persephone. Orpheus has one big talent: music and singing, thanks to his master Apollo, to whom Orpheus is very much committed. His voice and musical skills cast a spell on all who hear it. Every creature, every tree or plant, quite simply everyone is moved by Orpheus's performances.
As he so heart-broken, Orpheus decides to head into the Underworld to ask for the return of Eurydice. The sole condition is that he can't look behind him until both have reached the world of mortals again. As you can imagine, Orpheus is too anxious and commits the fatal error. Of course, he can't just go back and ask again for her return, since Charon (the ferryman) can't be tricked again by Orpheus's chanting.
And so, our musical artist seeks other activities, even moves to Egypt to work for the pharaoh. Being far away will surely help to ease the pain, he believes. However, one can only learn so much in a new setting. Orpheus returns to Greece/Thrace, but is soon put on several missions to assist in various, dangerous undertakings.
In his rewriting of this myth, Mr Silverberg added the myth of Jason and the Argonauts, in which Jason is to retrieve the Golden Fleece, a symbol of authority and kingship. This fleece is well-guarded by a dragon. Jason manages to retrieve it, but only with the help of Orpheus (who sings the dragon to sleep) and the spells of Medea, the witch with whom Jason has fallen in love.
All's well that ends well, see the various retellings of the Greek mythologies. Except for Orpheus. Or rather, because of his talent, he finally seems to have come to terms with his fate, as Apollo also confirms to him. Or is it Dionysos, god in whose honour a party is held? A party involving liquor, sex, drugs, ... A party which men should not attend, as their lives would be at stake. However, Orpheus does attend, having been invited earlier. And then it's one type of music versus the other. Orpheus does not relent, hangs on to his very skills, but it will mean the end of him. Or will it? It's the only way to be reunited with his former lover, Eurydice, to whom he's been fateful since the beginning. Something not every woman appreciated. So, in a way, all's well that ends well.
----------
My knowledge of the Greek myths is very vague and thankfully, we have internet these days to quickly look up some information. Yes, there are also libraries and books, for which we should be even more thankful, otherwise much information wouldn't (have) be(en) available on the WWW.
Anyway, not only is this a recommanded retelling of the myth of Orpheus and Eurydice (and Jason and the Argonauts and more), it's also an excellent way to (re-)explore the world of Greek mythology, one way or another. The translated version of Silverberg's novella is quite accessible and allows for a smooth read. I liked also how Mr Silverberg added some philosophical food for thought, how he put all gods (no matter the kind of religion) in one bowl and considered them as various sides/versions of one and the same god or entity. Like Dionysos and Apollo were considered two sides of the same coin, at least in the story. Again, I would have to dive into the world of Greek mythology for full details and understanding.
But yes, do read 'The Last Chant of Orpheus', or 'Le Dernier chant d'Orphée' if you wish to read it in a different language.
----------
I was sent this book by Éditions ActuSF for review. Many thanks to them for the trust.
----------
One of his last works is the 2010 novella 'The Last Song of Orpheus', which was translated into French in 2012 and published by Éditions ActuSF. Now, seven years later, a new edition is available, released in April 2019. The novella was translated by Jacqueline Callier and Florence Dolisi.
The French version comes with a foreword by Pierre-Paul Durastanti, the novella itself, and an interview with Mr Silverberg (conducted by Éric Holstein, whose D'or et d'Emeraude is on my TBR-list). The new cover was made by Benjamin Chaignon.
----------
'Le Dernier Chant d'Orphée' is a rewriting of the Greek myth in which half-god Orpheus falls in love with the nymph Eurydice, but this love and relationship doesn't last long. Died by the bite of a snake, she arrives in the Underworld, home of Hades and Persephone. Orpheus has one big talent: music and singing, thanks to his master Apollo, to whom Orpheus is very much committed. His voice and musical skills cast a spell on all who hear it. Every creature, every tree or plant, quite simply everyone is moved by Orpheus's performances.
As he so heart-broken, Orpheus decides to head into the Underworld to ask for the return of Eurydice. The sole condition is that he can't look behind him until both have reached the world of mortals again. As you can imagine, Orpheus is too anxious and commits the fatal error. Of course, he can't just go back and ask again for her return, since Charon (the ferryman) can't be tricked again by Orpheus's chanting.
And so, our musical artist seeks other activities, even moves to Egypt to work for the pharaoh. Being far away will surely help to ease the pain, he believes. However, one can only learn so much in a new setting. Orpheus returns to Greece/Thrace, but is soon put on several missions to assist in various, dangerous undertakings.
In his rewriting of this myth, Mr Silverberg added the myth of Jason and the Argonauts, in which Jason is to retrieve the Golden Fleece, a symbol of authority and kingship. This fleece is well-guarded by a dragon. Jason manages to retrieve it, but only with the help of Orpheus (who sings the dragon to sleep) and the spells of Medea, the witch with whom Jason has fallen in love.
All's well that ends well, see the various retellings of the Greek mythologies. Except for Orpheus. Or rather, because of his talent, he finally seems to have come to terms with his fate, as Apollo also confirms to him. Or is it Dionysos, god in whose honour a party is held? A party involving liquor, sex, drugs, ... A party which men should not attend, as their lives would be at stake. However, Orpheus does attend, having been invited earlier. And then it's one type of music versus the other. Orpheus does not relent, hangs on to his very skills, but it will mean the end of him. Or will it? It's the only way to be reunited with his former lover, Eurydice, to whom he's been fateful since the beginning. Something not every woman appreciated. So, in a way, all's well that ends well.
----------
My knowledge of the Greek myths is very vague and thankfully, we have internet these days to quickly look up some information. Yes, there are also libraries and books, for which we should be even more thankful, otherwise much information wouldn't (have) be(en) available on the WWW.
Anyway, not only is this a recommanded retelling of the myth of Orpheus and Eurydice (and Jason and the Argonauts and more), it's also an excellent way to (re-)explore the world of Greek mythology, one way or another. The translated version of Silverberg's novella is quite accessible and allows for a smooth read. I liked also how Mr Silverberg added some philosophical food for thought, how he put all gods (no matter the kind of religion) in one bowl and considered them as various sides/versions of one and the same god or entity. Like Dionysos and Apollo were considered two sides of the same coin, at least in the story. Again, I would have to dive into the world of Greek mythology for full details and understanding.
But yes, do read 'The Last Chant of Orpheus', or 'Le Dernier chant d'Orphée' if you wish to read it in a different language.
----------
I was sent this book by Éditions ActuSF for review. Many thanks to them for the trust.
----------
April 14, 2019
Orphée, vous connaissez? Mais si! Amoureux d’Eurydice, il n’hésita pas à descendre aux enfers pour retrouver l’âme de sa belle. Attention, à ne pas confondre avec Morphée, dieu des rêves 😉 . Ainsi donc Orphée, joueur de lyre, poète, est le narrateur de sa propre histoire. Il raconte son unique amour perdu, son aventure sur l’Argo, le bateau de Jason et les Argonautes.
Avec ce récit, Robert Silverberg réécrit le mythe d’Orphée. C’est agréable et magnifiquement bien fait. Il se dégage de ces pages une certaine poésie, un certaine lyrisme, une tension tragique qui correspondent parfaitement au personnage d’Orphée, que je connaissais finalement bien peu! Il faut dire que les mythologies gréco-latines, bien que davantage représentées dans nos contrées que les autres, n’ont pas vraiment ma préférence. Dans ce texte, Orphée s’interroge sur le destin: nos vies sont-elles toutes tracées, déjà écrites, ou sont-elles vraiment le résultat de nos choix?
« Donc, les dieux m’offrirent Eurydice; ou plutôt, ils la placèrent sur mon chemin, même si je crus faire ce choix moi-même. D’accord, disons que je l’aie choisie moi-même; vous êtes nombreux à croire que cette possibilité existe réellement en ce bas monde, je le sais. » (p. 32)
Fataliste, Orphée accepte son sort, ses souffrances. Et même si le chagrin amoureux est difficile à surmonter, si sa fin est particulièrement violente, il revit tout cela, chaque épreuve, encore.
« Ce sera mon dernier chant. Il est pour toi, Musée, mon fils. Il te dira tout ce qu’il y a à savoir sur ma vie. Mon dernier chant, mais aussi le premier, car la fin est le commencement et, pour moi, il n’y a ni fins ni commencements; seulement le cercle de l’éternité. » (p.17)
En fait, ce roman constitue un cycle. Le cycle de la vie. On peut aisément, une fois qu’on l’a terminé, le recommencer. Sa fin, son début, permettent de le voir comme un cercle, de le lire sans fin. On y suit la « naissance » d’Orphée, son « éducation », son apprentissage initié par Apollon, l’amour, les voyages, les souffrances, les pertes, la mort. La Vie, en somme.
Une réécriture de mythe que j’ai trouvé sublime, et qui m’a donné envie de me replonger dans les textes d’Ovide et d’Homère.
Avec ce récit, Robert Silverberg réécrit le mythe d’Orphée. C’est agréable et magnifiquement bien fait. Il se dégage de ces pages une certaine poésie, un certaine lyrisme, une tension tragique qui correspondent parfaitement au personnage d’Orphée, que je connaissais finalement bien peu! Il faut dire que les mythologies gréco-latines, bien que davantage représentées dans nos contrées que les autres, n’ont pas vraiment ma préférence. Dans ce texte, Orphée s’interroge sur le destin: nos vies sont-elles toutes tracées, déjà écrites, ou sont-elles vraiment le résultat de nos choix?
« Donc, les dieux m’offrirent Eurydice; ou plutôt, ils la placèrent sur mon chemin, même si je crus faire ce choix moi-même. D’accord, disons que je l’aie choisie moi-même; vous êtes nombreux à croire que cette possibilité existe réellement en ce bas monde, je le sais. » (p. 32)
Fataliste, Orphée accepte son sort, ses souffrances. Et même si le chagrin amoureux est difficile à surmonter, si sa fin est particulièrement violente, il revit tout cela, chaque épreuve, encore.
« Ce sera mon dernier chant. Il est pour toi, Musée, mon fils. Il te dira tout ce qu’il y a à savoir sur ma vie. Mon dernier chant, mais aussi le premier, car la fin est le commencement et, pour moi, il n’y a ni fins ni commencements; seulement le cercle de l’éternité. » (p.17)
En fait, ce roman constitue un cycle. Le cycle de la vie. On peut aisément, une fois qu’on l’a terminé, le recommencer. Sa fin, son début, permettent de le voir comme un cercle, de le lire sans fin. On y suit la « naissance » d’Orphée, son « éducation », son apprentissage initié par Apollon, l’amour, les voyages, les souffrances, les pertes, la mort. La Vie, en somme.
Une réécriture de mythe que j’ai trouvé sublime, et qui m’a donné envie de me replonger dans les textes d’Ovide et d’Homère.
March 28, 2023
Canon bisexual king Orpheus we love to see it
September 29, 2015
Pour un livre inédit considéré comme un événement, j'avoue être bien déçu. Je sais que cet auteur est reconnu, mais c'est la première fois que je le lis et je ne suis pas plus impressionné qu'il faut, bien que je lui laisserai une deuxième chance avec une histoire entièrement de son cru. En gros, ce livre raconte le mythe d'Orphée, je me rappelais très bien la première partie, dans laquelle y ira traverser l'enfer pour retrouver sa bien-aimée. Cette partie est bien fait et intéressante. Ensuite, il accompagnera Jason dans sa recherche de la toison d'or. Je me rappelais en partie cette histoire, mais j'ignorais qu'Orphée en faisait partie (oublie de ma part ou liberté de l'auteur, je n'ai pas poussé la recherche), cette partie s'avère moins bien écrite à mon avis et moins intéressante également. Dans l'ensemble, l'histoire est classique et pas mauvaise, mais ce livre n'y apporte rien. Il réécrit une histoire connu de tous ou presque, avec un style qui n'a rien pour se démarquer et qui apporte bien peu à un mythe dont on a largement fait le tour. Bref, je ne comprends pas la pertinence et la raison d'être de ce livre, bien qu'il ne soit pas mauvais en soi (il n'est pas très bon en soi non plus par contre).
July 2, 2011
The Last Song of Orpheus was kind of a Cliff's Notes version of a whole lot of mythology surrounding the demigod musician Orpheus. Not that it was dry (like Cliff's Notes,) just that it was... succinct - kind of a "here's what really happened."
I particularly liked the interpretation of the Golden Fleece saga. My current addiction is mythology, legend and fairy tale, and Last Song scratched the itch.
I particularly liked the interpretation of the Golden Fleece saga. My current addiction is mythology, legend and fairy tale, and Last Song scratched the itch.
August 6, 2019
Le maître de la SF, Robert Silverberg nous livre ici une réécriture poétique et épique du mythe d'Orphée. Dans son dernier chant, le poète et joueur de lyre, fils d'Apollon, livre à son fils Musée le récit de sa vie. Passé, présent et futur, sont indissociables pour lui comme pour tout les Dieux, mais il tâche de retracer les événements dans l'ordre chronologique.En commençant par le mythe le plus connu, son idylle avec Eurydice. Comment elle lui fut ravie trop tôt par une morsure de serpent, comment il descendit aux Enfers, comment il séduisit avec sa lyre Charron puis Perséphone pour qu'elle lui soit rendue, comment elle lui fût repris pour un regard lancé en arrière.
Vient ensuite, les années passées en Égypte au service du Pharaon charmé par sa musique, des années durant lesquelles il va initier les égyptiens à l'art de la musique et de la poésie, leur apprendre à fabriquer et jouer de la lyre.Puis son épopée avec Jason et les Argonautes en quête de la Toison d'Or. Robert Silverberg résume avec poésie cet épique récit. Je regrette cependant que beaucoup de passages intéressants soit condensés en une liste d'actions qui se succèdent avec au final très peu de dialogues. Alors qu'à d'autres moments, le temps s'arrête, Orphée se perd dans des digressions. Dans les passages mythiques qu'on connait bien (l'épisode de la Toison d'Or notamment), l'action va beaucoup trop vite, on est assaillit de noms de personnages, de lieux, comme dans un article encyclopédique (rédigé avec style, certes) qui irait juste l'essentiel, sans pour autant apporté un regard nouveau sur le mythe.Ce bémol mis à part, le dernier chant d'Orphée reste un beau moment de poésie pour (re)découvrir le mythe.
Vient ensuite, les années passées en Égypte au service du Pharaon charmé par sa musique, des années durant lesquelles il va initier les égyptiens à l'art de la musique et de la poésie, leur apprendre à fabriquer et jouer de la lyre.Puis son épopée avec Jason et les Argonautes en quête de la Toison d'Or. Robert Silverberg résume avec poésie cet épique récit. Je regrette cependant que beaucoup de passages intéressants soit condensés en une liste d'actions qui se succèdent avec au final très peu de dialogues. Alors qu'à d'autres moments, le temps s'arrête, Orphée se perd dans des digressions. Dans les passages mythiques qu'on connait bien (l'épisode de la Toison d'Or notamment), l'action va beaucoup trop vite, on est assaillit de noms de personnages, de lieux, comme dans un article encyclopédique (rédigé avec style, certes) qui irait juste l'essentiel, sans pour autant apporté un regard nouveau sur le mythe.Ce bémol mis à part, le dernier chant d'Orphée reste un beau moment de poésie pour (re)découvrir le mythe.
![Profile Image for Amanda [Novel Addiction].](/_next/image?url=https%3A%2F%2Fi.gr-assets.com%2Fimages%2FS%2Fcompressed.photo.goodreads.com%2Fusers%2F1415744673i%2F4886503._UX200_CR0%2C36%2C200%2C200_.jpg&w=128&q=75)
November 5, 2018
This was a random pick-up for me, while browsing the Sci-Fi section at my work/library. I love mythology, and I love retellings of said mythology, so of course I was drawn to this once I knew it existed.
It was well done. I loved the characterization of Orpheus - how he both knew his fate, and didn't. And the mention of the many lives he was destined to have and had already had.
I'd definitely check out more by this author in the future.
It was well done. I loved the characterization of Orpheus - how he both knew his fate, and didn't. And the mention of the many lives he was destined to have and had already had.
I'd definitely check out more by this author in the future.
May 26, 2019
Un récit court bien écrit et plaisant qui reprend le mythe d’Orphée. Manquant un brin d’originalité à mon goût pour une réécriture, ce livre nous fait voyager et (re)explorer les récits mythologiques qui ont bercé notre civilisation. Mention spéciale pour Zariel l’illustrateur de la couverture, dont je découvre ici le magnifique travail !
En savoir plus sur : https://livraisonslitteraires.wordpre...
En savoir plus sur : https://livraisonslitteraires.wordpre...
January 7, 2022
Silverberg je stvarno majstor u pričanju, ovo je baš lijepo poetski napisano, iako sam to čitao u raznim formama o Orpheusu i njegovim patnjama i putovanjima, Silverberg je opet ubacio svoj stil i proširio priču.
Trojka, zato što možda nije nešto pre zanimljivo mi bilo čitati u ovom trenutku.
Trojka, zato što možda nije nešto pre zanimljivo mi bilo čitati u ovom trenutku.
December 29, 2018
Great novel, short but absorving. I recommend it specially if you like Greek mythology. This reads a lot like the Gilgamesh stories by Silverberg, which I also loved.
October 7, 2020
3.5/5 stars.
The Last Song of Orpheus offers a look into Orpheus's life from his meeting with Eurydice to his journey into the underworld to what happens after in his life.
While intriguing to read, especially as I knew nothing about his life post-Eurydice, it was not incredibly engaging and, as it was a novella, did not offer much detail and explanation to his life. If not for my vague knowledge of Jason's journey from reading Circe and Medea I would have been entirely lost in all the names of people and kings and islands. Perhaps this is something I'll enjoy more in a reread in the future.
The Last Song of Orpheus offers a look into Orpheus's life from his meeting with Eurydice to his journey into the underworld to what happens after in his life.
While intriguing to read, especially as I knew nothing about his life post-Eurydice, it was not incredibly engaging and, as it was a novella, did not offer much detail and explanation to his life. If not for my vague knowledge of Jason's journey from reading Circe and Medea I would have been entirely lost in all the names of people and kings and islands. Perhaps this is something I'll enjoy more in a reread in the future.
February 4, 2015
Loved this book. It is an easy read, told in the voice of Orpheus himself, and touching on several of the great Greek myths. Recommended as an introduction for anyone looking to cleanse themselves of ignorance in Greek classics.
Favorite quotes:
"I felt a kind of ecstasy spread through me as I seized upon the understanding that music was not just a series of pleasant sounds, but the epitome in sound of the balance and order of the universe. That music and that order are the work of the One God whom men know by many names, by which everything is connected to everything, issuing forth the endless continuous song that is the harmony of the cosmos."
"And the gods decreed also that I had to learn not only love but the suffering that comes with the loss of one's beloved, and to experience the redemption that comes after the most acute and profound pain."
"Everything was exactly as I knew it would be, and nevertheless each day was a fresh time of surprise and wonder. That is the paradox of my life, that I march constantly onward into that which is ordained for me and which I have experienced so many times before, and as each event befalls me it is both new and old, a recapitulation that is also a discovery."
"And I saw the stars shining by day all about him, pulsing and quivering like drumheads beating of their own accord, filling the heavens with all their many colors, and I heard once more those thousand thousand lyres all at once, and the stars were singing their blessed song, that vast eternal harmony, that celestial music that has ever been my joy."
Favorite quotes:
"I felt a kind of ecstasy spread through me as I seized upon the understanding that music was not just a series of pleasant sounds, but the epitome in sound of the balance and order of the universe. That music and that order are the work of the One God whom men know by many names, by which everything is connected to everything, issuing forth the endless continuous song that is the harmony of the cosmos."
"And the gods decreed also that I had to learn not only love but the suffering that comes with the loss of one's beloved, and to experience the redemption that comes after the most acute and profound pain."
"Everything was exactly as I knew it would be, and nevertheless each day was a fresh time of surprise and wonder. That is the paradox of my life, that I march constantly onward into that which is ordained for me and which I have experienced so many times before, and as each event befalls me it is both new and old, a recapitulation that is also a discovery."
"And I saw the stars shining by day all about him, pulsing and quivering like drumheads beating of their own accord, filling the heavens with all their many colors, and I heard once more those thousand thousand lyres all at once, and the stars were singing their blessed song, that vast eternal harmony, that celestial music that has ever been my joy."
October 31, 2011
Just beautifully written by one of the masters. Silverberg has penned many a far-flung space opera, but his true passions seem to be mythology and ancient history. In The Last Song of Orpheus, his fondness for the old world is on full display. The demi-god Orpheus must navigate his way through the lost civilizations of mankind, torn between the human condition and the desires of the gods.
Silverberg has cut back on his writing in recent years, so this newest novella will be a welcome read for his fans. Written with the skill that comes from age and experience, The Last Song of Orpheus is yet more proof of Silverberg's talents.
Silverberg has cut back on his writing in recent years, so this newest novella will be a welcome read for his fans. Written with the skill that comes from age and experience, The Last Song of Orpheus is yet more proof of Silverberg's talents.
December 18, 2019
Je suis très heureuse d’avoir découvert la plume de Robert Silverberg : ma lecture du dernier chant d’Orphée a été très agréable mais sans être le coup de coeur auquel je m’attendais. Toutefois, cette novella a éveillé ma curiosité et il me plairait de lire aujourd’hui Roma Aeterna.
Pour une chronique plus complète, rendez-vous sur mon blog : https://labibliothequedaelinel.wordpr...
Pour une chronique plus complète, rendez-vous sur mon blog : https://labibliothequedaelinel.wordpr...
January 9, 2013
A relatively engrossing overview of the myths of Orpheus, as told by Orpheus himself. I certainly prefer the wonderful inventiveness of Silverberg's fantastic science fiction worlds, but he's a lovely writer of prose even when detailing an existing and familiar mythology.
Want to read
April 26, 2011Got this book in my Subterranean Press Grab Bag (Box?). Excited to see how it pans out!
March 3, 2012
Interesting because it re-tells many of the famous myths through the eyes of Orpheus - a different point of view on Jason and the Golden Fleece, for example. Brings the character of Orpheus to life.
August 10, 2013
Loved hearing the familiar stories that I teach every year from an "insider's" perspective. It really goes a new life to the ancient tales.
My only wish is a list of sources.
My only wish is a list of sources.
February 27, 2014
Great retelling of the Orpheus myth, even if the second half of the book isn't nearly as strong as the early parts
August 17, 2015
this is a cool retelling of one of the most interesting characters in mythology.
December 1, 2019
Mon avis complet sur le blog :)
https://lectrice-heretique.com/le-der...
https://lectrice-heretique.com/le-der...
December 29, 2011
An excellent retelling of the Orpheus myth. Silverberg always delivers a well written tale.
Displaying 1 - 26 of 26 reviews