Rating: 
Summary: Characters are the Treasure Here
Review: The Lyre of Orpheus is the concluding novel in Robertson Davies's Cornish Trilogy, and it stands as a strong work within the context of that collection. Like The Rebel Angels (the first book), The Lyre of Orpheus is very much dependent upon the two other books and does not do well as a stand-alone. In many ways, The Lyre of Orpheus was surprising to this reader. Its plot revolves around an Arthurian quest (loosely) to put on a production of a long-dead composer whose opera had fallen short of completion at the time of his death in the early 19th century. The task was to write an opera that was sufficiently of his spirit, so as to be called his, and then produce it according to the conventions of the theatre of the day. Honestly, I would be hard-pressed to think of a plot that would be less likely to rouse my interest, personally (my apologies to all those truly devoted to early 19th century opera!). Having invested myself in the first two books of the trilogy, however, I resigned myself to the task of reading this last installment (lest I have to chastise myself in future years for having gone so far and then turned back). The `round table' of this tale was, for me, the most tedious of experiences (except when a drunken, rude Scandinavian music scholar provided me with some humour to console my page-turning drudgery). Indeed, the book often wanders with Davies's own apparent unclear quest to find his way from one cover to the next. BUT - all of that said, I found myself falling in love with this book, the more I read of it. Robertson Davies has (though he is gone, he is not really) a delightful gift of making us find joy in the chatter and company of our own lives. This book, perhaps more than many of his creation, takes us through a luxurious indulgence in the meanderings of days strung together whose meaning can only be guessed, or retroactively assigned. The `round table,' though often a great annoyance to this reader, began to feel as beloved (and despised) as the Thanksgiving table filled with family and friends. The treasure of this book is to be found in the characters, not in the plot (which is a mere backdrop - and excuse for the story - just as the libretto is an excuse for the opera's music (according to Davies)). I give high marks to this book. I expected not to like it; but I did. Very much so, in fact. I commend it to your reading.
Rating:
Summary: Characters are the Treasure Here
Review: The Lyre of Orpheus is the concluding novel in Robertson Davies's Cornish Trilogy, and it stands as a strong work within the context of that collection. Like The Rebel Angels (the first book), The Lyre of Orpheus is very much dependent upon the two other books and does not do well as a stand-alone. In many ways, The Lyre of Orpheus was surprising to this reader. Its plot revolves around an Arthurian quest (loosely) to put on a production of a long-dead composer whose opera had fallen short of completion at the time of his death in the early 19th century. The task was to write an opera that was sufficiently of his spirit, so as to be called his, and then produce it according to the conventions of the theatre of the day. Honestly, I would be hard-pressed to think of a plot that would be less likely to rouse my interest, personally (my apologies to all those truly devoted to early 19th century opera!). Having invested myself in the first two books of the trilogy, however, I resigned myself to the task of reading this last installment (lest I have to chastise myself in future years for having gone so far and then turned back). The 'round table' of this tale was, for me, the most tedious of experiences (except when a drunken, rude Scandinavian music scholar provided me with some humour to console my page-turning drudgery). Indeed, the book often wanders with Davies's own apparent unclear quest to find his way from one cover to the next. BUT - all of that said, I found myself falling in love with this book, the more I read of it. Robertson Davies has (though he is gone, he is not really) a delightful gift of making us find joy in the chatter and company of our own lives. This book, perhaps more than many of his creation, takes us through a luxurious indulgence in the meanderings of days strung together whose meaning can only be guessed, or retroactively assigned. The 'round table,' though often a great annoyance to this reader, began to feel as beloved (and despised) as the Thanksgiving table filled with family and friends. The treasure of this book is to be found in the characters, not in the plot (which is a mere backdrop - and excuse for the story - just as the libretto is an excuse for the opera's music (according to Davies)). I give high marks to this book. I expected not to like it; but I did. Very much so, in fact. I commend it to your reading.
Rating: 
Summary: Pretty good...
Review: This is a pretty good book...it kept my attention and had enough pull to take me out of the real world for a time. Just one warning, however--do not go into this book expecting it to have very much to do with Arthurian legend!
Rating:
Summary: Pretty good...
Review: This is a pretty good book...it kept my attention and had enough pull to take me out of the real world for a time. Just one warning, however--do not go into this book expecting it to have very much to do with Arthurian legend!
Rating:
Summary: Regarding opera
Review: Treats the same subject as the much earlier A Mixture of Frailties, from a different approach (and in a more modern manner). Philosophical, farcical, thoughtful, touching, and even -- gasp - educational. The plot drives ahead almost unnoticed, as usual, until you realize, quite by accident, that you really need to find out how this is all going to come out.
Rating:
Summary: A Mixture of Frailties Remixed
Review: Treats the same subject as the much earlier A Mixture of Frailties, from a different approach (and in a more modern manner). Philosophical, farcical, thoughtful, touching, and even -- gasp - educational. The plot drives ahead almost unnoticed, as usual, until you realize, quite by accident, that you really need to find out how this is all going to come out.
| 
