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 [b:Downward to the Earth|25509124|Downward to the Earth|Robert Silverberg|https://images.gr-assets.com/books/1450533462s/25509124.jpg|953818], 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 [a:Éric Holstein|3159347|Éric Holstein|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png], whose [b:D'or et d'Emeraude|36406535|D'or et d'Emeraude|Éric Holstein|https://images.gr-assets.com/books/1507914815s/36406535.jpg|16027075] is on my TBR-list). The new cover was made by Benjamin Chaignon.

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'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.

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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.

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I was sent this book by Éditions ActuSF for review. Many thanks to them for the trust.

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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. ( )

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. ( )