Orpheus in the context of "Orfeo ed Euridice"

An anachronism (from the Greek ἀνά ana, 'against' and χρόνος khronos, 'time') is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain.

An anachronism may be either intentional or unintentional. Intentional anachronisms may be introduced into a literary or artistic work to help a contemporary audience engage more readily with a historical period. Anachronism can also be used intentionally for purposes of rhetoric, propaganda, comedy, or shock. Unintentional anachronisms may occur when a writer, artist, or performer is unaware of differences in technology, terminology and language, customs and attitudes, or even fashions between different historical periods and eras.

Ethos is a Greek word meaning "character" that is used to describe the guiding beliefs or ideals that characterize a community, nation, or ideology; and the balance between caution and passion. The Greeks also used this word to refer to the power of music to influence emotions, behaviors, and even morals. Early Greek stories of Orpheus exhibit this idea in a compelling way. The word's use in rhetoric is closely based on the Greek terminology used by Aristotle in his concept of the three artistic proofs or modes of persuasion alongside pathos and logos. It gives credit to the speaker, or the speaker is taking credit.

Pieria (Greek: Πιερία) is one of the regional units of Greece located in the southern part of the Region of Central Macedonia, within the historical province of Macedonia. Its capital is the town of Katerini. The name Pieria originates from the ancient Pieres tribe. In Pieria, there are many sites of archeological interest, such as Dion, Pydna, Leivithra and Platamonas. Pieria contains Mount Pierus, from which Hermes takes flight in order to visit Calypso, and is the home of Orpheus, the Muses, and contains the Pierian Spring. Mount Olympus, the highest mountain in Greece and throne of the ancient Greek gods, is located in the southern part of Pieria. Other ancient cities included Leibethra and Pimpleia.

In Greek mythology, the underworld or Hades (Ancient Greek: ᾍδης, romanized: Háidēs) is a distinct realm (one of the three realms that make up the cosmos) where an individual goes after death. The earliest idea of afterlife in Greek myth is that, at the moment of death, an individual's essence (psyche) is separated from the corpse and transported to the underworld. In early mythology (e.g., Homer's Iliad and Odyssey) the dead were indiscriminately grouped together and led a shadowy post-existence; however, in later mythology (e.g., Platonic philosophy) elements of post-mortem judgment began to emerge with good and bad people being separated (both spatially and with regards to treatment).

The underworld itself—commonly referred to as Hades, after its patron god, but also known by various metonyms—is described as being located at the periphery of the earth, either associated with the outer limits of the ocean (i.e., Oceanus, again also a god) or beneath the earth. Darkness and a lack of sunlight are common features associated with the underworld and, in this way, provide a direct contrast to both the 'normality' of the land of the living (where the sun shines) and also with the brightness associated with Mount Olympus (the realm of the gods). The underworld is also considered to be an invisible realm, which is understood both in relation to the permanent state of darkness but also a potential etymological link with Hades as the 'unseen place'. The underworld is made solely for the dead and so mortals do not enter it – with only a few heroic exceptions (who undertook a mythical catabasis: Heracles, Theseus, Orpheus, possibly also Odysseus, and in later Roman depictions Aeneas).

Orphism is the name given to a set of religious beliefs and practices originating in the ancient Greek and Hellenistic world, associated with literature ascribed to the mythical poet Orpheus, who descended into the Greek underworld and returned. Orphism has been described as a reform of the earlier Dionysian religion, involving a re-interpretation or re-reading of the myth of Dionysus and a re-ordering of Hesiod's Theogony, based in part on pre-Socratic philosophy.

The suffering and death of the god Dionysus at the hands of the Titans has been considered the central myth of Orphism. According to this myth, the infant Dionysus is killed, torn apart, and consumed by the Titans. In retribution, Zeus strikes the Titans with a thunderbolt, turning them to ash. From these ashes, humanity is born. In Orphic belief, this myth describes humanity as having a dual nature: body (Ancient Greek: σῶμα, romanized: sôma), inherited from the Titans, and a divine spark or soul (Ancient Greek: ψυχή, romanized: psukhḗ), inherited from Dionysus. In order to achieve salvation from the Titanic, material existence, one had to be initiated into the Dionysian mysteries and undergo teletē, a ritual purification and reliving of the suffering and death of the god. The uninitiated (Ancient Greek: ἀμύητος, romanized: amúētos), they believed, would be reincarnated indefinitely.

Aristias (Ancient Greek: Ἀριστίας), son of Pratinas, was a dramatic poet of ancient Greece whose tomb Pausanias saw at Phlius, and whose satyric dramas, with those of his father, were considered to be surpassed only by those of Aeschylus. Aristias is mentioned in the life of Sophocles as one of the poets with whom the latter contended. Besides two dramas, which were undoubtedly satyr plays, the Keres (Κῆρες) and Cyclops, Aristias wrote three others, Antaeus, Orpheus, and Atalante, which may have been tragedies.

Ferdinando de' Medici (9 August 1663 – 31 October 1713) was the eldest son of Cosimo III de' Medici, Grand Duke of Tuscany, and Marguerite Louise d'Orléans. Ferdinando was heir to the Grand Duchy of Tuscany, with the title Grand Prince, from his father's accession in 1670 until his death in 1713. He is remembered today primarily as a patron of music. An excellent musician himself (sometimes called "the Orpheus of princes"), he attracted top musicians to Florence and thus made it an important musical center. Through his patronage of Bartolomeo Cristofori, Ferdinando made possible the invention of the piano.

Pimpleia (Ancient Greek: Πίμπλεια) was a city in Pieria in Ancient Greece, located near Dion and ancient Leivithra at Mount Olympus. Pimpleia is described as a "κώμη" ("quarter, suburb") of Dion by Strabo. The location of Pimpleia is possibly to be identified with the modern village of Agia Paraskevi near Litochoron.

It was renowned as the birthplace and early abode of Orpheus. Many springs and memorials dedicated to Orpheus and Orphic cults. Cults of the Muses were also celebrated, under the epithet Pimpleids (Πιμπληίδες).

Iccus of Taranto (Ancient Greek: Ἴκκος) (5th century BC) was a Magna Grecia Olympic athlete, a victor during the 84th Games (444 BC) or 70th Games (470 BC) according to older sources. He is considered the father of athletic dietology. He prepared himself physically before competing according to ethical-religious Pythagorean concepts by abstaining from sexual intercourse and a frugal diet specially prepared. He also taught these principles. Pausanias calls him the best gymnast of his age, and Plato also mentions him with great praise.

Iamblichus calls him a Pythagorean. According to Themistius, Plato reckoned him among the sophists. Specifically, in Plato's dialogue Protagoras, the sophist Protagoras lists Iccus alongside Homer, Hesiod, Simonides, Orpheus, Musaeus, Herodicus, Agathocles tutor of Damon, and Pythoclides [fr] as fellow sophists (that is, improvers of youth) who chose to present themselves as poets, athletes, or musicians for fear of public disapproval.

A kantharos (/ˈkænθəˌrɒs/; Ancient Greek: κάνθαρος) or cantharus (/ˈkænθərəs/) is a type of ancient Greek cup used for drinking. Although almost all surviving examples are in Greek pottery, the shape, like many Greek vessel types, probably originates in metalwork. In its iconic "Type A" form, it is characterized by its deep bowl, tall pedestal foot, and pair of high-swung handles which extend above the lip of the pot. The Greek words kotylos (κότῦλος, masculine) and kotyle (κοτύλη, feminine) are other ancient names for this same shape.

The kantharos is a cup used to hold wine, probably both for drinking and for ritual use in libations and offerings. The kantharos seems to be an attribute of Dionysus, the god of wine, who was associated with vegetation and fertility.

Orpheus mosaics are found throughout the Roman Empire, normally in large Roman villas. The scene normally shown is Orpheus playing his lyre, and attracting birds and animals of many species to gather around him. Orpheus was a popular subject in classical art, and was also used in Early Christian art as a symbol for Christ.

The standard depiction in Roman mosaic scenes (for the Romano-British variant see below) shows him seated and playing a lyre or cithara, wearing a Phrygian cap, often beside a tree, and includes many animals drawn and pacified by his playing. The fox was considered Orpheus's special animal and may be placed beside him. In large examples the animals spread to occupy the whole floor of a room. Titles such as Orpheus Charming/Taming the Beasts may be used. Usually the whole scene occupies the same space, but sometimes Orpheus and the animals are each in compartments separated by borders with geometrical decoration. In such cases the compartments with animals are very similar to those in other mosaics with no central figure. An alternative composition shows Dionysus (Bacchus) as the central figure, surrounded by animals, more lively than those around Orpheus.

In Greek mythology, the Titanomachy (/ˌtaɪtəˈnɒməki/; Ancient Greek: Τιτανομαχία, lit. 'battle of Titans') was a ten-year war fought in ancient Thessaly, consisting of most of the Titans (the older generation of gods, based on Mount Othrys) fighting against the Olympians (the younger generations, who would come to reign on Mount Olympus) and their allies. This event is also known as the War of the Titans, Battle of the Titans, Battle of the Gods, or just the Titan War. The war was fought to decide which generation of gods would have dominion over the universe; it ended in victory for the Olympian gods.

Greeks of the classical age knew of several poems about the war between the gods and many of the Titans. The dominant one, and the only one that has survived, is the Theogony attributed to Hesiod. The Titans also played a prominent role in the poems attributed to Orpheus. Although only scraps of the Orphic narratives survive, they show differences from the Hesiodic tradition.

Eurydice (/jʊəˈrɪdɪsiː/ ; Ancient Greek: Εὐρυδίκη 'wide justice', classical pronunciation: [eu̯.ry.dí.kɛː]) was a character in Greek mythology and the wife of Orpheus, whom Orpheus tried to bring back from the dead with his enchanting music.

A rhyton /ˈraɪˌtɒn, ˈraɪtən/ (pl.: rhytons or, following the Greek plural, rhyta) is a roughly conical container from which fluids were intended to be drunk or to be poured in some ceremony such as libation, or merely at table; in other words, a cup. A rhyton is typically formed in the shape of either an animal's head or an animal horn; in the latter case it often terminates in the shape of an animal's body. Rhyta were produced over large areas of ancient Eurasia during the Bronze and Iron Ages, especially from Persia to the Balkans.

Many have an opening at the bottom through which the liquid fell; this could be either for pouring libations, or as a way of drinking. Others did not, and were merely used as drinking cups, with the characteristic, shared by many early cup forms, that they were "unstable" and could not usually be set down on a surface without spilling their contents.

In Greek mythology, Methone (Ancient Greek: Μεθώνη) was the name shared by four women:

• Methone, one of the Alcyonides, daughters of the giant Alcyoneus. She was the sister of Alkippe, Anthe, Asteria, Drimo, Pallene and Phthonia (Phosthonia or Chthonia). When their father Alcyoneus was slain by Heracles, these girls threw themselves into the sea from Kanastraion, which is the peak of Pellene. They were then transformed into halcyons (kingfishers) by the goddess Amphitrite.
• Methone, the nymph-consort of Pierus, king of Pieria, and by the latter, became the mother of Oeagrus, father of Orpheus. In some accounts rather, she was called the sister of Pierus.
• Methone or Mothone (Μοθώνη), a bastard daughter of King Oeneus of Calydon by a concubine. She was the eponymous heroine who gave her name to Methone in Messenia.
• Methone, wife of King Poeas of Meliboea and mother of Philoctetes. Otherwise, the latter's mother was called Demonassa. This Methone may be the same as the above character.

Zone (Ancient Greek: Ζώνη) was an ancient Greek polis on the Aegean coast of ancient Thrace on a promontory of the same name, a short distance to the west of the entrance of the Lacus Stentoris.

According to Apollonius of Rhodes and Mela, it was to this place that the woods followed Orpheus, when set in motion by his wondrous music.