The Tragedy of Orpheus

Orpheus and Eurydice on the Banks of the Styx, by John Roddam Spencer Stanhope, 1878

The story of Orpheus is very deep. As all archetypal symbols are, one can never exhaust their meanings. This tragic saga is one of the primary myths of depth psychology. According to Robert Romanyshyn, “Orpheus is…the poet of the gap, the poet of the border realms.” 1 Soul is the mediatrix between spirit and matter. This is the realm of the mundus imaginalis, Corbin’s world of the imaginal. Orpheus is its poet. This realm is also the territory where one is haunted by knowing and unknowing, where one discovers something only to realize that one has lost it again. I will deal more with this in my next article.

According to legend, Orpheus was born the son of Oeagrus, king of Thrace, and the Muse, Calliope. Other versions of the story say Apollo was his father. The Thracians were the most musical of all the Greeks, so it was natural that Orpheus would become a gifted musician. Not only this, but he became the most gifted of all musicians. It was said he had no rival, except for the Gods themselves. He was the “Lord of the seven-stringed lyre.” 2 His music brought a harmonious state of being to all things within earshot of his voice and lyre. Stones and trees would move themselves to be closer to the sounds emanating from him, and animals would lay silently and peacefully at his feet. It is said his music had the power to divert the course of rivers. Even the creatures in the Underworld were enraptured by his playing.

Because his fame as a musician had become widespread, the Greek hero, Jason, asked him to accompany him and his Argonauts on their quest for the Golden Fleece. Jason had made a wise decision. On the return journey they traveled past the islands of the Sirens, the same Sirens encountered by Odysseus in the Odyssey. The Sirens used their enticing voices to lure unsuspecting sailors to their deaths upon their rocky shores. As soon as Orpheus heard their bewitching voices, he began to strum his lyre with music so loud and so beautiful that he drowned out their enchantments so that the Argonauts could not hear them. It is said in another version of the story that Orpheus used his musical gifts to lull to sleep the dragon of Colchis, the guardian of the Golden Fleece, thus enabling Jason and his crew to escape with it.

Many came from near and far to hear the melodious sounds produced by Orpheus’ playing and singing. On many occasions, large crowds would gather. One such day, Orpheus caught sight of a lovely wood nymph named Eurydice. Immediately, he fell in love with her and she with him. The beautiful and shy Eurydice was said to be one of the daughters of Apollo, the god of music. These two became madly enraptured with one another, star-crossed from the start. They married soon afterwards.

After the wedding celebration, while on their way home, a shepherd named Aristaeus lay in wait to kill Orpheus and take Eurydice for himself. Orpheus was playing his lyre while Eurydice danced merrily through the fields. Suddenly, Aristaeus emerged from behind a bush and fell upon Orpheus. Orpheus managed to avoid him, and, grabbing Eurydice’s hand, the two began running swiftly through the meadow and into the nearby forest. Aristaeus followed close behind them. As the Fates would have it, Eurydice stepped accidentally upon a den of venomous serpents. She was bitten numerous times and fell, dead, upon the forest floor. Seeing this, Aristaeus gave up the chase, realizing its futility.

Orpheus was overcome with grief. The death of his beloved wife haunted him day and night. His mourning was overwhelming. His playing and singing were so sad that all of Nature wept for him. Orpheus implored Apollo to allow him passage to the Underworld where he could consult with Hades and beg for his wife’s return. Apollo consented, and the gates of Hades opened freely before the enchanting sounds of his lyre. Even Cerberus  was lulled to sleep by the music. Then, Orpheus made his way to the palace of Hades. His music and singing caused Hades and Persephone to weep profusely, as it did all of the denizens of the Underworld, to the point where Hades agreed to allow Eurydice to return with him to the upper regions. There was one condition, however, that Orpheus would have to meet. While Eurydice followed him back to the world of light, at no time could Orpheus turn and look upon her until she was, once again, in the upper world. Elated, Orpheus agreed, and he and his wife began the journey home, Eurydice following behind. As Orpheus stepped into the light of the Dayworld, he made the ultimate mistake. He turned and looked to see if Eurydice had yet emerged from the darkness, but she had not. He barely caught a glimpse of her before she was taken back into the deep places of the earth.

After this, Orpheus was broken and disheartened. There are differing stories concerning Orpheus’ death. One claims that Dionysus ordered the Maenads to kill Orpheus. Thus they did by dismembering him. His shade descended to Hades, where he was reunited with his beloved, Eurydice.

In my next article, I will discuss some of the symbolism in this tragic saga.



  1. Robert D. Romanyshyn, The Wounded Researcher, New Orleans, Spring, 2007, p. 11
  2. G.R.S. Mead, Orpheus, London, TRS, 1896, p. 14
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Alchemy: In the Service of Nature



The Promethean archetype, the desire to steal that which was meant to serve Nature and use it exclusively for human purposes, should not be the blueprint for the practitioner of alchemy. Even individual soul-making, if focused solely on the human, does not assist the Anima Mundi in her transmutation. The primary task of the alchemist, his passion, is to further the improvement of the World Soul. The alchemical practice is not to carry out the Promethean aim of what is best for humanity. Rather, it is more akin to a religious devotion to Nature.

Certainly, this is a dichotomizing of humanity and Nature. In reality, they are one and the same. Humanity is certainly a natural phenomenon. It is just as natural as any natural thing can be. The problem arises when the Promethean attitude is venerated to the exclusion of the cherishing and nourishing of Nature. A good example would be a large oil company assuming they are improving the world for mankind by drilling oil anywhere they can find it. What they’re doing has more to do with profit than it does with a supposedly altruistic aim. Of course, this is not serving Nature, but only selfish human ends. This is the Promethean archetype in a nutshell. It has nothing to do with the true practice of alchemy. If you want to understand Prometheus, read Ayn Rand. Her lead characters are almost always Promethean in nature.

Jung recognized what is, in essence, the Promethean spirit in Christianity, and how it differs from the Magnum Opus:

Here we come to a parting of the ways. The Christian receives the fruits of the Mass for himself personally and for the circumstances of his own life in the widest sense. The alchemist, on the other hand, receives the fructis arboris immortalis [the fruit of the tree of immortality] not merely for himself but first and foremost for the King or the King’s Son, for the perfecting of the coveted substance. He may play a part in the perfectio, which brings him health, riches, illumination, and salvation; but since he is the redeemer of God and not the one to be redeemed, he is more concerned to perfect the substance than himself (Jung 352, brackets mine).

So, alchemy has to do with the redemption of God rather than with the redemption of humanity. Humanity certainly benefits from the transformation and transmutation of Nature simply for being part of Nature. (No, this is not an avowal of pantheism on my part, although I do believe in a form of panentheism). The alchemical vocation can certainly bring one “health, riches, illumination, and salvation”, but these are not the primary goals. Where Christianity misses it is in placing man at the center of the universe, and thinking that if man is redeemed, then Nature would be also. This, however, is backwards. The Work is for the sake of the Work, not for the sake of personal enrichment. The Work is to transmute the Anima Mundi.

So, how can alchemy assist in the transmutation and transformation of the World Soul? James Hillman offers these suggestions:

By treating the materials as ensouled, by invoking the spirits of the metals and speaking of their emotional qualities, alchemy found gods in nature, and soul, or animation, in the physical world (Hillman 409).

J.R. Tolkien’s Lord of the Rings trilogy is one of my favorite stories. I discovered Tolkien as a teenager, after I heard Robert Plant say once he was reading Tolkien’s books. Straightaway, I went out and bought them. My favorite thing about the story is that it is an animistic tale, for all things are ensouled and all of Nature is reverenced. There are many, many examples of this throughout the story. For instance, the manner in which the hobbits smoke their pipes is fascinating. It’s as if the tobacco has soul, having the ability to take various shapes. And, remember how the swords and daggers had names, and sort of possessed their own personalities? This is ensoulment of natural materials. Nature is not a cold, lifeless place. It is filled with soul, with life.

James Hillman claims that “alchemy is animism” (Hillman 408). This is because the materials of alchemy are reverenced as possessing spirits, motives, emotions, even the ability to cooperate with the alchemist in his various endeavors; not literally, but mythologically. Our modern world has lost this precious attitude in this day of reductionist materialism. There is a dire need to recover this worldview before it is too late.

Works Cited

Hillman, James. Uniform Edition of the Writings of James Hillman Volume 5: Alchemical Psychology, Kindle edition. Dallas: Spring, 2013.

Jung, C.G. Psychology and Alchemy. The Collected Works of C. G. Jung, Vol. 12. Princeton: Princeton, 1953.

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Ciphers of Nature

Photo by Pauk

…initial imaginative operation is to typify (tamthll) the immaterial and spiritual realties  in  external or sensuous  forms,  which  then  become  “ciphers”  for  what they manifest. After that the Imagination remains the motive force of the ta’wil which is  the continuous ascent of the soul In short, because there is imagination there is  ta ‘wll; because there is  ta ‘wll,  there is symbolism;  and because there is symbolism, beings have two dimensions (Alone with the Alone, by Henry Corbin).

Could it be that we, in this material world of self-aggrandizement, are really asleep? In our humdrum day-to-day existence of relying on the physical senses to perceive this world, truly a one-sided state of affairs, we don’t realize that we’re omitting the most important aspect of reality.

The Hermetic doctrine teaches,

For All things, are but two Things, That which Maketh, and that which is Made, and the One of them cannot depart, or be divided from the Other (Corpus Hermeticum, Book 17).

Every empirical object is not just an entity to be observed and measured. All things are two. These cannot be divided; they are actually one reality. This other corresponds to the physical object, but it is not observable by the physical senses.

Let’s take a concrete example and discuss a tree, since I like talking about trees. Let’s talk about an oak tree. The oak tree has spirally arranged leaves; its fruit is a nut called an acorn. Within this hard little nut is another tall, strong oak tree in potentia. The bark is hard to the touch. These are physical characteristics of the tree. Is this all there is to an oak? What about the awesome symbolism inherent in such a mighty tree? The spiral, which I have discussed on this blog, is a tremendous spiritual image. Each oak leaf is based on a spiral pattern, which expresses the famous Fibonacci series. Tremendous imagery! The acorn has been used by psychologist, James Hillman, in his book, Soul’s Code, to theorize individual human destinies. This is just scratching the surface of the rich depths of symbolism the oak possesses. 

When we begin to experience the depths inherent in Nature via imagination, our souls begin a journey back to their origin. This is all about imagination. Corbin talks a lot about ta’wil. This idea, taken from Islamic mysticism, is spiritual exegesis on, not only sacred texts, but also on the world around us. Through imagination, we experience the twin of all material things. The maxim, As above, so below, leads us to greater understanding of ourselves. That is why we can discuss, say, a flower, and discover a plethora of truths inherent in its reality. 

All manifested forms function as ciphers that, if read properly, will unveil their inherent truths. This is exactly how the ancients formulated their spiritual ideas. It is a hermeneutical, imaginative reading of Nature. Jung’s active imagination is very effective in this pursuit of truth.

So say those who have gone before us, if we follow this truth, our souls will also return to their rightful place in the universe.

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