#orpheus eurydice a lyric sequence

LIVE

Who knows? Maybe it would be simpler.
When she was alive, her body
confused him; he couldn’t think
clearly when she was close. Scent
of her skin made him dizzy.

Now, where she had been: only
a gaping hole in air,
an emptiness he could fill with song.

Gregory Orr, from “Far below, plowed fields…”, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

With my words
I’ll make rocks
weep and trees
toss down
their branches
in despair.

In its heart
each object
guards a tear
so round
and absolute
it mirrors all
the passing scene.
Those clear globes
are the souls 
of things.
I want to shatter
them. I want
to make them sing.

Gregory Orr, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

HADES

It hurt me to hear my subjects—
nothing but ghosts, nothing
but gray husks—groaning aloud.

His songs that blended anguish
and desire made their brows furrow,
their placid faces lose all repose.

In my dark realm, music’s painful
as first light to sleeping eyes:
white line above black trees,
dawn’s chalk scraped across the board.

Gregory Orr, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

PERSEPHONE

My body was never marred;
no dart of Eros
ever pierced my skin.
Where my heart was
a pomegranate is—
how could I be moved?

And yet, as he sang,
I watched pale faces
in our hall of ghosts
swaying like a meadow
and memory blossomed.
I saw again
my lost companions
wandering in sunlight
in the upper air.
I walked among them
green and careless,
not hearing the rhythm
of his chariot approaching,
not yet caught
in the sickle
of his arm’s curve.

At the field’s edge
I searched for lilies;
never saw the god
whom love had ravaged,
myself the flower
he’d come to gather.

Gregory Orr, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

He stood before the throne
and we stared, astonished,
at his breath pluming
in the cold air.

And then he strummed
his lyre and sang
the things we knew
and had forgot—
the earth in all its seasons
but especially spring
whose kiss melts
the icicle’s bone
so that the dead bush
blooms again.

He sang the splendid wings
sex lends.

He sang the years passing
like sparks
flung in the dark:
anvil, tongs, and hammer
toiling at pleasure’s forge.

Last of all it was loss
he sang, how like a vine
it climbs the wall,
sends roots and tendrils
inward,
bringing to the heart
of the hardest stone
the deep bursting emptiness of song.

Gregory Orr, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

When Eurydice saw him
huddled in a thick cloak,
she should have known
he was alive,
the way he shivered
beneath its useless folds.

But what she saw
was the usual: a stranger
confused in a new world.
And when she touched him
on the shoulder,
it was nothing
personal, a kindness
he misunderstood.
To guide someone
through the halls of hell
is not the same as love.

Gregory Orr, Orpheus & Eurydice: A Lyric Sequence (Copper Canyon Press, 2001)

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