"The Lyre of Orpheus (Cornish Trilogy, #3)" By Robertson Davies

Robertson Davies concludes his Cornish Trilogy with The Lyre of Orpheus, a novel that blends academic satire, artistic ambition, and the interplay between myth and reality. The novel revolves around the completion of an unfinished opera attributed to E.T.A. Hoffmann, commissioned by the Cornish Foundation. The process of bringing this work to life draws together an eclectic cast of characters, each shaped by personal ambitions, intellectual pretensions, and their own interpretations of artistic genius. As in the previous installments of the trilogy, Davies uses the creative process as a means of exploring human nature, questioning the intersection of inspiration, scholarship, and self-interest.The narrative juxtaposes the practical and the mystical, using the opera’s development as a stage upon which the characters perform their own desires, flaws, and transformations. Arthur Cornish, now head of the Foundation, insists on a pragmatic approach to the arts, believing in structure and order, whereas his wife, Maria, possesses a more intuitive, emotionally attuned perspective. Simon Darcourt, the scholar and cleric, functions as both an observer and reluctant participant, trying to balance academic integrity with the more chaotic forces at play. The involvement of Hulda Schnakenburg, the difficult yet brilliant composer chosen to complete the opera, introduces a volatile creative energy that clashes with the expectations of those funding and overseeing the project.Davies infuses the novel with his signature wit, parodying the pretensions of academia and the world of high art. The characters are simultaneously exaggerated and deeply human, their intellectual posturing masking insecurities and longings. Through the reimagining of Hoffmann’s lost opera, the novel questions whether artistic creation is the product of an individual genius or a collective effort shaped by historical and cultural forces. The theme of the Orphic myth becomes central to this inquiry, serving as a metaphor for the power and peril of artistic ambition. Orpheus, the archetypal artist, is both a creator and a doomed figure, suggesting that art demands a price, whether in personal sacrifice or the struggle against mediocrity and misunderstanding.Beyond its satirical edge, the novel also engages with deeper philosophical questions about the responsibilities of artists and patrons. Davies portrays the Cornish Foundation’s attempt to control the creative process with a blend of humor and criticism, illustrating the tension between artistic integrity and institutional influence. While some characters see art as a means of self-aggrandizement or cultural prestige, others recognize it as an unpredictable, transformative force that resists easy categorization. The presence of Hoffmann himself as a spectral influence reminds the reader that the past remains an active participant in the present, shaping and challenging contemporary artistic endeavors.As the opera moves toward its completion, the novel explores how creation is as much about struggle and compromise as it is about inspiration. Hulda’s brilliance is tempered by her temperamental nature, and the various stakeholders find their expectations subverted by the realities of the creative process. The final production of the opera, rather than offering clear resolutions, underscores the novel’s central paradox—that the pursuit of art is both an act of control and surrender.Davies masterfully weaves these themes into a narrative that is erudite, playful, and thought-provoking. The novel’s engagement with myth, history, and artistic expression offers a meditation on the enduring nature of creativity and its complexities. The Lyre of Orpheus ultimately affirms that art, like Orpheus’s song, holds the power to enchant, challenge, and disrupt, leaving its creators and audiences forever altered.

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