Eurydice In Ovid's X Of The Metamorphoses

If you met a man named Orpheus who had a girlfriend, would you assume her name was Eurydice? Many people would, because the myth of Orpheus and Eurydice is from “many, many thousand years ago” and is still passed on today, verbally and through works of literature. In his 1959 film Black Orpheus, Marcel Camus interprets this well-known myth, making changes to the story to make it more dramatic and interesting. Black Orpheus is substantially different from the original myth because Orpheus has a girlfriend before meeting Eurydice, Hermes plays a different role, Orpheus kills Eurydice, Orpheus cannot bring Eurydice back from the underworld, and Orpheus’ death

The skeleton character in the film Black Orpheus is Death, who personifies the immortal concept of death which eventually claims Eurydice before her time and kills her. This character is very important to this movie, which offered a modern day update of the myth (a legend or story used to explain things such as nature or aspects of gods) of Orpheus when this film was initially created in 1959 (No author, 1958), because he serves as the antagonist. An antagonist is an adversary. It is due to the pursuit and the machinations of the skeleton character that Eurydice even travels to Brazil. And, it is due to the skeleton character's relentless pursuit that Eurydice is eventually destroyed by Orpheus, although she compromises her safety by hanging from a power line in order to escape from Death.

Circe gives him a life of ease and self-indulgence on an enchanted island. In Phaecia, Odysseus is offered the love of a young princess and her hand in marriage. The Sirens tempt him to live in the memory of the glorious past. Calypso, the goddess with whom he spends seven years, offers him the greatest temptation of all: immortality. In refusing, Odysseus chooses the human condition, with all its struggle, its disappointments, and its inevitable end. And the end, death, is ever-present. But he hangs on tenaciously and, in the midst of his ordeals, he is sent living to the world of the dead to see for himself what death means.” (Lawall,

In Orpheus and Eurydice, the love between Orpheus and Eurydice let Orpheus have the courage to save Eurydice out from the Underworld. When Eurydice got poisoned from a snake and went to the Hades, Orpheus decide to “enter Hades itself and fetch her back to earth from there” (Gibson 32). It is the love from Eurydice give Orpheus the courage to save his wife out of the Underworld, and it is the love Orpheus had towards Eurydice so that he do not want to leave his wife in the Underworld alone. Furthermore, in the myth “Savitri and Stevana”, the love between Savitri and Satyavan give Savitri the courage to follow Yamraj. When the Yamraj took Satyavan' soul, “Savitri followed on foot. She followed miles and miles” (Jaffrey 185). Savitri determined action had finally convinced the Yamraj to give back her husband’s

Orual first takes her sister for mad, but eventually is convinced the perhaps she should leave Psyche to her new found joy, to the love of her husband. But her jealousy and obsessive love step in , grudging Psyche her happiness, her love. Orual is unable to comprehend, much less approve, of any love for Psyche that usurps her own. Orual, predictably, resents the gods for the gulf now so plainly separating her from Psyche. "…the world had broken in pieces and Psyche and I were not in the same piece. Seas, mountains, madness, death itself, could not have removed her from me to such a hopeless distance. Gods, and again gods, and always gods…they had stolen her." (TWHF, pg.120-121)

As they leave the hospital, instead of Orpheus realizing that Eurydice is dead, he continues to “forget” that she has been electrocuted and continues his quest in finding her. He decides to go to missing persons to see if she is there. This is when I feel as though he has entered Lethe, the third level of his journey to the underworld. Lethe is the river of forgetfulness and I sincerely feel that as this point of the movie, Orpheus is pass denial which places him in a state of disregard. All of the pain that he is dealing with has possibly caused

Sarah Ruhl’s play, Eurydice, is a devastating story battling love, grief, life, and death. Although it is set during the 1950’s, the play manages to encompass the ancient Greek myth of Eurydice and Orpheus. The three most evident themes of this play are recurring death, fleeting happiness, and the power of love. The main conflict in this play is ultimately about the painful choice that comes with death; this is often caused by the King of the Underworld. One of the most impressive parts of this play is the ability to change the way the play is perceived through design.

Orpheus was the Beethoven of the Greek world, everybody loved his music. Everywhere he went, people listened to his music and loved it. Eurydice was Orpheus’ number one stalker/fan. They fell in love but Eurydice died one day, from a snake bite. Orpheus’ mad love for Eurydice ended up sending him to Tartarus and all he had to do was to bring Eurydice out of the underworld without looking at her. However, he was filled with doubt and he turned to look at her, losing her forever.

When Orpheus is being done inside the novel, an actor plays his part: “And as though the singer had been waiting for this cue…he chose this moment to stagger grotesquely to the footlights, his arms and legs splayed out under his antique robe, and fall down in the middle of the property sheepfold” (201). In this case, the actor playing Orpheus can be seen as the actual Orpheus in the myth because he goes to do what he loves, acting, even though it is risky for him because it is assumed that he is sick with the plague. Although the actor does die from the plague, he still went to dangerous lengths to achieve his passion, like Orpheus actually does in the myth when he goes to retrieve Eurydice. In addition, the reader can now see that Orpheus and Eurydice represent all of the couples throughout the novel, and is able to see examples earlier in the novel of characters going against extreme conditions, and the possibility of death because of circumstances against their will, to be with their love. An example of this is when the town is first closed off, because citizens are not allowed to leave, only come in, and only one person does decide to enter: “At the height of the epidemic we saw only one case in which natural emotions overcame the fear of death in a particularly painful form…The two were old Dr. Castel and his wife...But this

This myth began when Orpheus rejected the advances of the Ciconian women. He did this because he had rejected the advances of all women because he was still in love with his late wife. He was distraught over the fact that he could not save her from the Underworld and therefore, swore off all women (Metamorphoses 10.82-86). Because of this, the Ciconian women found Orpheus performing one of his songs and decided to get their revenge. They first began killing the animals that had been enthralled by Orpheus’ song and then turned on Orpheus. They murdered him viciously and savagely, using stones and the earth to kill him (Metamorphoses 11.20-44). Orpheus then descended into the Underworld to join his late wife. Orpheus was mourned by a lot of beings, including the god Bacchus. He was angry that the Ciconian women had murdered Orpheus and transformed them into trees

The myth of Eurydice is a sad story in which two lovers are separated by death. After his love dies, Orpheus journeys into the underworld to retrieve her, but instead loses her for good. Playwright Sarah Ruhl takes the myth of Eurydice and attempts to transform this sad tale into a more light-hearted story. However, despite humorous lines and actions throughout the play, the melancholy situation of the actual tale overwhelms any comicality present. Although meant to be funny, Sarah Ruhl's “Eurydice” can be seen as a modernized tragedy about two lovers who are separated forever by a twist of fate.

Both Fifth century B.C. playwright Euripides and Roman poet and dramatist Ovid tell the story of Jason ditching Medea for another woman; however, they do not always share a perspective on the female matron's traits, behavior, and purpose. Euripides portrays a woman who reacts to injustice by beginning a crusade to avenge all who harmed her which she is prepared to see through even if it means resorting to the most contemptible methods. Ovid, on the other hand, tells of a much less extreme figure whose humble goal is only to persuade Jason to return. Despite these differences, both Medeas create trouble by acting with emotions instead of with reason, and as a result, put

Doolittle starts the poem by setting a new attitude for Eurydice, showing the shift from the perceived passivity of Eurydice to a new, more assertive character. It’s important to note that Eurydice is reflecting upon what happened before she became a prisoner of hell for eternity. Where the poem starts is where her growth starts, not her final stage of growth. The poem starts in medias res, showing that this is indeed a continuation of the Orpheus myth and also shows that a lot has happened before the speaker has spoken. Eurydice, the speaker, says, “so you have swept me back”(H.D. 1), referring to when Orpheus came down to the underworld to rescue her. While many readers of the myth may have thought that is was romantic and heroic of Orpheus to come rescue her, the speaker thinks otherwise. She

Oedipus rises as a hero, but eventually loses his power when he faithfully commits to terrible deeds. Jocasta, the wife and mother to Oedipus, doubts that the oracle of Apollo is genuine. Since she and her previous husband, King Laius, left Oedipus to die in the mountains, they refuse to believe the oracle. She claims that “ ..It was fate that he should die a victim at the hands of his own son, a son to be born of Laius and me. But, see now, he, the king, was killed by foreign highway robbers at a place where three roads meet” (Sophocles, 493: 791-796). Despite Jocasta and Laius’s intentions to change their fate, the prophecy remains unfeigned. The fact that Oedipus is alive even after being abandoned, is evidence that their fates are

Oedipus is a boy who was left on the mountains to die by his own parents, the King and Queen of Thebes, due to a tragic prophecy told by the Oracles of Delphi. The prophecy declares that the boy would be destined to murder his father, king Louis of Thebes and then incest with Louis’s wife, Jocasta, Oedipus mother. After being abandoned on the mountain by his wicked parents, a shepherd found this little child and takes him to the King and Queen. King Polybus and Queen Merope of Corinth decided that since they don't have a child of their own, it would