Eurydice

Christian Gottlieb Kratzenstein, Orpheus and Eurydice, 1806, Ny Carlsberg Glyptotek, Copenhagen

Eurydice was the Auloniad wife of musician Orpheus,[5][6][7] who loved her dearly; on their wedding day, he played joyful songs as his bride danced through the meadow. One day, Aristaeus saw and pursued Eurydice, who stepped on a viper, was bitten, and died instantly. Distraught, Orpheus played and sang so mournfully that all the nymphs and deities wept and told him to travel to the Underworld to retrieve her, which he gladly did. After his music softened the hearts of Hades and Persephone, his singing so sweet that even the Erinyes wept, he was allowed to take her back to the world of the living. In another version, Orpheus played his lyre to put Cerberus, the guardian of Hades, to sleep, after which Eurydice was allowed to return with Orpheus to the world of the living. Either way, the condition was attached that he must walk in front of her and not look back until both had reached the upper world. Soon he began to doubt that she was there, suspecting that Hades had deceived him. Just as he reached the portals of Hades and daylight, he turned around to gaze on her face, and because Eurydice had not yet crossed the threshold, she vanished back into the Underworld. When Orpheus was later killed by the Maenads at the orders of Dionysus, his soul ended up in the Underworld where he was reunited with Eurydice.[8][7]

The story in this form belongs to the time of Virgil, who first introduces the name of Aristaeus and the tragic outcome.[9] Other ancient sources however, speak of Orpheus's visit to the underworld in a more negative light; according to Phaedrus in Plato's Symposium,[10] the infernal deities only "presented an apparition" of Eurydice to him. Plato's representation of Orpheus is that of a coward; instead of choosing to die in order to be with the one he loved, he mocked the deities by trying to go to Hades to get her back alive. Since his love was not "true"—meaning he was not willing to die for it—he was punished by the deities, first by giving him only the apparition of his former wife in the underworld and then by being killed by women.[10]

The story of Eurydice may be a late addition to the Orpheus myths. In particular, the name Eurudike ('she whose justice extends widely') recalls cult-titles attached to Persephone. The myth may have been derived from another Orpheus legend in which he travels to Tartarus and charms the goddess Hecate.[11]

The story of Eurydice has a number of strong universal cultural parallels, from the Japanese myth of Izanagi and Izanami, the Mayan myth of Itzamna and Ixchel, the Indian myth of Savitri and Satyavan, to the Akkadian/Sumerian myth of Inanna's descent to the underworld. The biblical story of Lot's wife, who was turned into a pillar of salt because she looked back at the town she was fleeing, is "often compared to the story of Orpheus and his wife Eurydice."[12]

• Sir Orfeo, a Middle English Romance poem from the late 13th or early 14th century, inspired by the Orpheus and Eurydice tale
• "Orpheus. Eurydice. Hermes." (1904), a poem retelling the journey from the underworld by Rainer Maria Rilke
• Orphée (1950), directed by Jean Cocteau
• Orfeu Negro (1959), an adaptation of the classic myth filmed in Brazil by Marcel Camus
• Evrydiki BA 2O37 (1975), directed by Nikos Nikolaidis.
• "Eurydice" (1999), a poem that retells the traditional myth through a feminist lens by British poet Carol Ann Duffy in her book The World's Wife
• ‘’Portrait of a Lady on Fire‘’ (2019) written and directed by Céline Sciamma uses the myth of Orpheus and Eurydice as an allegory for the relationship depicted in the film, and proposes an alternate explanation for why Orpheus turned to look.

The myth has been retold in operas by Jacopo Peri, Monteverdi, Charpentier, Gluck, Yevstigney Fomin, Harrison Birtwistle, and Matthew Aucoin.

• Euridice (1600), an opera by Jacopo Peri, the first genuine opera whose music survives to this day[14]
• Orfeo ed Euridice, an opera by Christoph Willibald Gluck
• L'Orfeo (1607), by Claudio Monteverdi, widely regarded as the first operatic masterwork[15]
• La Descente d'Orphée aux enfers H.488 (1686), opera by Marc-Antoine Charpentier
• Orphée descendant aux enfers H.471 (1683), cantata by Marc-Antoine Charpentier
• Orphée (1926), a play written by Jean Cocteau
• Eurydice (1941), a play by Jean Anouilh
• Orpheus Descending (1957), by American playwright Tennessee Williams.
• Orfeo ed Euridice (1996), a new production of Gluck's opera by choreographer Mark Morris and the Handel and Haydn Society conducted by Christopher Hogwood.[16]
• Eurydice (2003), a play by Sarah Ruhl, later made into an opera by Matthew Aucoin in 2020.[17]
• Orpheus and Eurydice: A Myth Underground (2011), a theatre production written by Molly Davies with music by James Johnston, Nick Cave and the Bad Seeds for the National Youth Theatre at the Old Vic Tunnels, directed by James Dacre
• Hadestown (2010), an ensemble album by Anaïs Mitchell, featuring Mitchell as Eurydice, Justin Vernon as Orpheus and Ani DiFranco among others, retelling the myth as a 'folk opera' in a post-apocalyptic Depression era America. Also, a Broadway musical of the same name that opened in 2019, with Eurydice's role played by Eva Noblezada. Bridget Read, in her review for Vogue, wrote: "Hades in the musical is a suit-wearing boss, a slick con man who promises wealth but suckers in the hungry, poor Eurydice to a life of toil in his factory pit. [...] Orpheus and Eurydice’s tragedy then becomes, in the hands of Mitchell, an argument for collective bargaining. [...] Orpheus and Eurydice’s romance is a rallying cry against the relentless slog of work, production, and pillaging of the world’s natural resources that capitalism demands".[18]

• Eurydice Peninsula in Antarctica is named after Eurydice.
• A species of Australian lizard, Ctenotus eurydice, is named after Eurydice.[19]
• An asteroid 75 Eurydike is named after Eurydice.

• Hades is an indie rogue-like game developed by Supergiant Games, where Eurydice is a character who resides in Asphodel and is voiced by Francesca Hogan.[20][21] The player, Zagreus, is given the option of reuniting Eurydice and Orpheus after meeting them.[22][21] Just Lunning, for Inverse, commented that "Hades will immediately grab your eye with its stunning character designs, which are consistently unique and unconventional ways. [...] Every character is consciously trying their best to be beautiful. [...] Even mythical, inhuman characters like [...] Eurydice (an oak nymph) embody this vision of beauty. [...] Eurydice has an afro composed of tree branches".[23]

• Ovid, Metamorphoses 10
• The Library 1.3.2
• Pausanias, Description of Greece 9.30
• Virgil, Georgics 4.453
• Plato, Symposium

• Buci-Glucksmann, Christine. 2000. "Eurydice and her Doubles: Painting after Auschwitz." In Artworking 1985-1999. Amsterdam: Ludion. ISBN 90-5544-283-6.
• Butler, Judith. [2001] 2004. "Bracha's Eurydice." Theory, Culture & Society 21(1).
  • Originally in de Zegher, Catherine, and B. Massumi, eds. 2001. Bracha Lichtenberg Ettinger: Eurydice Series, Drawing Papers 24. NY: Drawing Center.
• Duffy, Carol Ann. 1999. "Eurydice." In The World's Wife. ISBN 978-0-330-37222-0.
• Ettinger, Bracha L., and Emmanuel Levinas. [1997] 2006. "Qui Dirait Eurydice? What Would Eurydice say?: Brache Lichtenberg Ettinger in Conversation with Emmanuel Levinas." Philosophical Studies 2.
• Glowaka, Dorota. 2007. "Lyotard and Eurydice." In Gender after Lyotard, edited by M. Grebowicz. NY: Suny Press. ISBN 978-0-7914-6956-9
• Graves, Robert, The Greek Myths, Harmondsworth, London, England, Penguin Books, 1960. ISBN 978-0143106715
• Graves, Robert, The Greek Myths: The Complete and Definitive Edition. Penguin Books Limited. 2017. ISBN 978-0-241-98338-6, 024198338X
• Pollock, Griselda. 2009. "Orphée et Eurydice: le temps/l'éspace/le regard traumatique." In Guerre et paix des sexes, edited by J. Kristeva, et al. Hachette.
• —— "Abandoned at the Mouth of Hell." In Looking Back to the Future. G&B Arts. ISBN 90-5701-132-8.
• Rosand, Ellen. "Opera: III. Early opera, 1600–90." Grove Music Online, edited by L. Macy.
• Whenham, John. 1986. Claudio Monteverdi, Orfeo. Cambridge University Press. ISBN 0-521-28477-5