How To Become A Myth

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

soft in the middle, shelby eileen // 14 lines from love letters or suicide notes, david “doc” luben

the authors note of all time

I was gonna finish and upload my one tree hill fic but I stayed up late stress baking last night so I will be passing out (why does sleep exhaustion hit you the second it turns 10???)

"How do you write such realistic dialogue-" I TALK TO MYSELF. I TALK TO MYSELF AND I PRETEND I AM THE ONE SAYING THE LINE. LIKE SANITY IS SLOWLY SLIPPING FROM BETWEEN MY FINGERS WITH EVERY MEASLY WORD THEY TYPE OUT. THAT IS HOW.

I think Harry Ron and Hermione should all just hold hands

"B-but Palestinians can get their freedom with peace not violence 🥺🥺" no. Screw your feelings. The armed resistance against colonizers and murderers is what will give Palestinians their freedom and what will eventually achieve real peace.

An enemy that bombs and uses white phosphorus against civilians doesn't know nor practice what your broken moral compass describes as "peace". Freedom was proven throughout history not to be achieved through kneeling and asking the oppressor to kindly stop. Freedom needs to be taken by force. Your little Utopian way of thinking doesn't work in the real world. Your feelings don't matter because you're not the one living under occupation. Your feelings don't matter because you're not one of the thousands of children who lost their limbs. You're not one of the children who became orphans due to this genocide. You're not the mother who lost her child to the carpet bombing. You're not the father carrying the remains of your child in plastic bags. You're not the newlywed woman who lost her husband. You're not the one at risk of either getting killed any second or losing your loved ones in the blink of an eye!

"Peace" is not really a thing you see during a live ethnic cleansing!

something something love is what matters, something something the world may be ending and we may be dying but love is still what matters, something something the world is so incredibly cruel and we owe it to each other to not be, to be kind and love eachother

it's always better to have loved.

philip pullman, the amber spyglass / guillermo del toro's pinocchio (2022) / fleabag (2016-2019) / andrew garfield / art by @catadromously / anne carson, euripides / markus zusak, the book thief / shannon barry / little women (2019) / the good place (2016-2020) / fyodor dostoevsky, crime and punishment / his dark materials (2019-2022) / @starpeace

it annoys me when sapphic women see an attractive woman and are like “i’m no better than a man 😳😔” like BABE you are allowed to see an attractive woman and want to fuck her!!! free yourself from the cottagecore PG13 narrative of sapphic attraction, look at her with lust in your heart!!!

headcannon - Tyler totally kisses Kate’s scar.

Okay, so this is a few years down the line, they’re an established couple and marriage is this distant but not far thing, the important thing is they’re happy and content and okay and that’s a rare thing for people like them. Over the years everyone’s slowly healed, Kate got therapy, Javi got therapy, they actually talked and slowly dealt with everything. So, she eventually starts wearing shorts more and more often. The scar is still this big reminder of everything that happened, but she’s slowly learning to accept it. Then, Tyler starts doing this thing where when the two of them are together, (Kate’s watching the news or reading and his head is in her lap, just cuddling her because that man’s love language is gifts and touch) he presses a kiss to her scar. At first she doesn’t even notice because it’s a quick barely there thing, like it’s a subconscious movement almost.

And then Kate notices, and she notices it happens so damn often. Like Tyler’s barely aware and at the same time it’s almost worshiping, like it’s second hand nature to love the thing that for years she hated with a passion. And he just keeps don’t it, and brushing his fingers against the scar, and staring at it with this barely concealed awe and she doesn’t get it.

So Kate finally snaps and asks him why? And she’s really asking, why do you love the worst part of me, because the scar to her represents her failure and how it lead to her friend’s deaths. Tyler just stares at her, because to him it is so simple and easy he stopped questioning it years ago, because it means you survived. And he’s really saying, because it means you’re here and alive and I got to love you, I got to be loved by you.

And he’s really saying, your survival is beautiful and I love you for it.

(Somebody steal my computer and phone, I have so many thoughts about these idiots.)