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Orpheus glances back at Eurydice, 1806 oil painting by Christian Gottlieb Kratzenstein Stub. Orpheus and Eurydice, stone relief, second century, Šempeter, Slovenia; Orpheus and Eurydice, a painting by Titian (c. 1508) Landscape with Orpheus and Eurydice, a painting by Poussin (1650–1653) Orpheus and Euridice, a painting by Federico Cervelli
Hadestown is a musical with music, lyrics, and book by Anaïs Mitchell.It tells a version of the ancient Greek myth of Orpheus and Eurydice. Eurydice, a young girl looking for something to eat, goes to work in a hellish industrial version of the Greek underworld to escape poverty and the cold, and her poor singer-songwriter lover Orpheus comes to rescue her.
Orfeo ed Euridice ([orˈfɛ.o e.d‿ewˈri.di.t͡ʃe]; French: Orphée et Eurydice; English: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi.
Eurydice's father reads to her from King Lear in a Shimer College production of Eurydice. The play consists of three movements, divided into numerous scenes: 7 in the first movement, 20 in the second movement, and 3 in the third movement. The play begins with Eurydice and Orpheus, two young lovers, who are about to get married.
Eurydice (/ j ʊəˈr ɪ d ɪ s iː /; Ancient Greek: Εὐρυδίκη 'wide justice', classical pronunciation: [eu̯.ry.dí.kɛː]) was a character in Greek mythology and the Auloniad wife of Orpheus, whom Orpheus tried to bring back from the dead with his enchanting music.
The Tale of Orpheus and Erudices his Quene is a poem by the Scottish Northern Renaissance poet Robert Henryson that adapts and develops the Greek myth which most famously appears in two classic Latin texts, the Metamorphoses of Ovid and the Georgics of Virgil. Jacopo del Sellaio, Orpheus and Eurydice, c.1480
Orpheus’ backwards glance merely confirms the absence that defines his desire and poetic impulse. In this moment of inspiration, when Orpheus gazes at Eurydice, he loses her—she disappears into the work’s inability to attain the fullness of being. The work of art intensifies and accomplishes loss rather than redeems it.
The scene is Orpheus and Eurydice's home in Thrace. There is a mirror on the left wall and at stage rear a white horse, protruding from a niche. As the play begins Orpheus is trying to interpret a message that the horse is tapping out with his hoof. Eurydice expresses her jealousy for the supernatural nag who takes so much of her husband's time.