Eurydice ( /jʊˈrɪdɨsiː/; Εὐρυδίκη, Eurudikē) in Greek mythology, was an oak nymph or one of the daughters of Apollo (the god of light). She was the wife of Orpheus, who loved her dearly; on their wedding day, he played joyful songs as his bride danced through the meadow. One day, a satyr saw and pursued Eurydice, who stepped on a venomous snake, dying instantly. Distraught, Orpheus played and sang so mournfully that all the nymphs and gods wept and told him to travel to the Underworld and 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. However, soon he began to doubt that she was there and that Hades had deceived him. Just as they reached the portals of Hades and daylight, he turned around to gaze on her face, and Eurydice vanished back into the Underworld. When Orpheus was later killed by the Maenads on Dionysus' orders, his soul ended up in the Underworld where he was reunited with Eurydice.
The story in this form belongs to the time of Virgil, who first introduces the name of Aristaeus and the tragic outcome.[1] Other ancient writers, however, speak of Orpheus' visit to the underworld in a more negative light; according to Phaedrus in Plato's Symposium,[2] the infernal gods only "presented an apparition" of Eurydice to him. Ovid says that Eurydice's death was not caused by fleeing from Aristaeus but by dancing with naiads on her wedding day. In fact, 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 instead mocked the gods by trying to go to Hades and get her back alive. Since his love was not "true" — meaning he was not willing to die for it — he was actually punished by the gods, first by giving him only the apparition of his former wife in the underworld, and then by being killed by women.
The story of Eurydice may actually 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.[3]
The story of Eurydice has strong parallels to the Japanese myth of Izanami, as well as to the Mayan myth of Itzamna and Ix Chel, the Indian myth of Savitri and Satyavan, the Akkadian/Sumerian myth of Inanna's descent to the underworld, and the Biblical story of Lot and his wife.
The story of Orpheus and Eurydice has been depicted in a number of works by artists, including Titian, Peter Paul Rubens, Nicolas Poussin and recently Bracha Ettinger whose series Eurydice was exhibited in the Pompidou Centre, (Face à l'Histoire, 1996); the Stedelijk Museum, Amsterdam (Kabinet, 1997) and The Royal Museum of Fine Arts, Antwerpen (Gorge(l), 2007). The story has inspired ample writings in the fields of ethics, aesthetics, art and feminist theory.
In addition, the myth has been retold in operas by Monteverdi, Jacopo Peri, Gluck, Yevstigney Fomin and Harrison Birtwistle (see List of Orphean operas). The myth is also the basis of Anais Mitchell's folk opera Hadestown. The story of Orpheus and Eurydice features prominently in the 1967 album Reflections by Manos Hadjidakis and the Nick Cave and the Bad Seeds album The Lyre of Orpheus as well as The New York Rock and Roll Ensemble song "Orpheus" and the 1967 song "From the Underworld" by The Herd. The band She & Him has a song entitled "Don't Look Back", which references the story. "Eurydice (Don't Follow)" is a song by the band The Crüxshadows. There are also songs written by Sleepthief and Wayne Shorter that are titled "Eurydice" .
Additionally, the story of Orpheus and Eurydice is the basis of a play by Sarah Ruhl, the comic book The Sandman by Neil Gaiman, and the poem "The Years Go Fast and the Days Go Slow" by James McCoy. The story inspired the 1959 critically acclaimed film Black Orpheus (Portuguese: Orfeu Negro) made in Brazil by Marcel Camus. The freeware game Don't Look Back is a modern interpretation of the story.
The myth also inspired the American playwright Tennessee Williams' 1957 drama "Orpheus Descending". It tells the story of a guitar-playing drifter named Val, a young man with a snakeskin jacket, a questionable past, and undeniable animal-erotic appeal. He gets a job in the dry goods store run by a middle-aged woman named Lady, whose elderly husband is dying. Lady has a past and passions of her own. She finds herself attracted to Val and to the possibility of new life he seems to offer. It is a tempting antidote to her loveless marriage and boring, small-town life. The play describes the awakening of passion, love, and life – as well as its tragic consequences for Val and Lady.