Introduction: “Eurydice” by Carol Ann Duffy
“Eurydice” by Carol Ann Duffy first appeared in her 1999 poetry collection The World’s Wife. This celebrated anthology reimagines classical myths, historical figures, and iconic stories through the voices of often-overlooked female characters, offering a feminist reinterpretation of these narratives. In “Eurydice,” Duffy reexamines the myth of Orpheus and Eurydice from Eurydice’s perspective, challenging the traditional portrayal of her as a passive figure and instead presenting her as a self-aware and independent woman. The poem explores themes of female agency, voice, and resistance against male-centric narratives, resonating with contemporary readers and contributing to its enduring popularity. Duffy’s witty and subversive style, combined with her keen social commentary, makes “Eurydice” a standout piece in the collection, emblematic of her broader critique of patriarchal traditions in literature and culture.
Text: “Eurydice” by Carol Ann Duffy
Girls, I was dead and down
in the Underworld, a shade,
a shadow of my former self, nowhen.
It was a place where language stopped,
a black full stop, a black hole
Where the words had to come to an end.
And end they did there,
last words,
famous or not.
It suited me down to the ground.
So imagine me there,
unavailable,
out of this world,
then picture my face in that place
of Eternal Repose,
in the one place you’d think a girl would be safe
from the kind of a man
who follows her round
writing poems,
hovers about
while she reads them,
calls her His Muse,
and once sulked for a night and a day
because she remarked on his weakness for abstract nouns.
Just picture my face
when I heard –
Ye Gods –
a familiar knock-knock at Death’s door.
Him.
Big O.
Larger than life.
With his lyre
and a poem to pitch, with me as the prize.
Things were different back then.
For the men, verse-wise,
Big O was the boy. Legendary.
The blurb on the back of his books claimed
that animals,
aardvark to zebra,
flocked to his side when he sang,
fish leapt in their shoals
at the sound of his voice,
even the mute, sullen stones at his feet
wept wee, silver tears.
Bollocks. (I’d done all the typing myself,
I should know.)
And given my time all over again,
rest assured that I’d rather speak for myself
than be Dearest, Beloved, Dark Lady, White Goddess etc., etc.
In fact girls, I’d rather be dead.
But the Gods are like publishers,
usually male,
and what you doubtless know of my tale
is the deal.
Orpheus strutted his stuff.
The bloodless ghosts were in tears.
Sisyphus sat on his rock for the first time in years.
Tantalus was permitted a couple of beers.
The woman in question could scarcely believe her ears.
Like it or not,
I must follow him back to our life –
Eurydice, Orpheus’ wife –
to be trapped in his images, metaphors, similes,
octaves and sextets, quatrains and couplets,
elegies, limericks, villanelles,
histories, myths…
He’d been told that he mustn’t look back
or turn round,
but walk steadily upwards,
myself right behind him,
out of the Underworld
into the upper air that for me was the past.
He’d been warned
that one look would lose me
for ever and ever.
So we walked, we walked.
Nobody talked.
Girls, forget what you’ve read.
It happened like this –
I did everything in my power
to make him look back.
What did I have to do, I said,
to make him see we were through?
I was dead. Deceased.
I was Resting in Peace. Passé. Late.
Past my sell-by date…
I stretched out my hand
to touch him once
on the back of the neck.
Please let me stay.
But already the light had saddened from purple to grey.
It was an uphill schlep
from death to life
and with every step
I willed him to turn.
I was thinking of filching the poem
out of his cloak,
when inspiration finally struck.
I stopped, thrilled.
He was a yard in front.
My voice shook when I spoke –
Orpheus, your poem’s a masterpiece.
I’d love to hear it again…
He was smiling modestly,
when he turned,
when he turned and he looked at me.
What else?
I noticed he hadn’t shaved.
I waved once and was gone.
The dead are so talented.
The living walk by the edge of a vast lake
near, the wise, drowned silence of the dead.
Annotations: “Eurydice” by Carol Ann Duffy
| Stanza | Annotation |
| 1st Stanza | Introduces Eurydice as a “shade” in the Underworld, emphasizing her detachment from life and language. The imagery of silence and the absence of words underscores her death and disconnection. |
| 2nd Stanza | Depicts her existence in the Underworld as one of peace and relief, free from the constraints of being Orpheus’s muse. This subverts traditional myth by portraying the Underworld as a refuge. |
| 3rd Stanza | Satirizes Orpheus’s portrayal of her as a muse and critiques the male-centric tradition of immortalizing women through their relationships with men. It questions the authenticity of Orpheus’s artistry. |
| 4th Stanza | Mockingly elevates Orpheus’s legend, highlighting his supposed universal appeal. This ironic tone undermines his grandeur and reclaims Eurydice’s agency. |
| 5th Stanza | Reveals Eurydice’s discontent with being reduced to a mere poetic subject, preferring her own voice over being objectified in literary tropes. Demonstrates her feminist stance. |
| 6th Stanza | Compares the Gods to publishers, exposing the power dynamics and male dominance in the narrative and artistic spaces. Sets the stage for Eurydice’s resistance. |
| 7th Stanza | Narrates Orpheus’s descent into the Underworld, using hyperbolic imagery to ridicule his self-importance. Highlights the absurdity of his poetic dominance. |
| 8th Stanza | Details the conditions of the deal for Eurydice’s return, satirizing poetic forms and emphasizing the artistic constraints she faces. Reflects her disillusionment. |
| 9th Stanza | Eurydice actively manipulates Orpheus to look back, emphasizing her agency and determination to remain in the Underworld. This subversion of the myth portrays her as the architect of her own fate. |
| 10th Stanza | Captures the dramatic moment when Orpheus turns, illustrating Eurydice’s wit and intelligence in orchestrating her own liberation. Challenges the traditional depiction of Orpheus as a hero. |
| 11th Stanza | Concludes with a reflection on the divide between the dead and the living, framing the dead as possessing a profound wisdom. Highlights the themes of silence, autonomy, and Eurydice’s reclaimed voice. |
Literary And Poetic Devices: “Eurydice” by Carol Ann Duffy
| Literary/Poetic Device | Example | Explanation |
| Alliteration | “Dead and down in the Underworld” | Repetition of the ‘d’ sound emphasizes the finality and darkness of the Underworld. |
| Allusion | References to “Orpheus,” “Sisyphus,” and “Tantalus” | Draws on Greek mythology to frame the narrative and provide cultural context. |
| Ambiguity | “The dead are so talented” | Can imply wisdom or irony about the silence and creativity of the dead. |
| Anaphora | “I was dead. Deceased. I was Resting in Peace.” | Repetition at the start of phrases emphasizes Eurydice’s detachment and her death. |
| Assonance | “A shadow of my former self” | Repetition of vowel sounds (‘a’ and ‘o’) creates a melancholic rhythm. |
| Caesura | “Bollocks. (I’d done all the typing myself…)” | A pause in the middle of the line to add a conversational tone and humor. |
| Colloquialism | “Bollocks” | Informal language adds humor and modernity, contrasting with the traditional mythological tone. |
| Contrast | “The living walk by the edge of a vast lake” vs. “The wise, drowned silence of the dead” | Highlights the gap between the living’s triviality and the dead’s wisdom. |
| Dramatic Irony | “I did everything in my power to make him look back” | Readers know Eurydice’s intentions, while Orpheus remains unaware. |
| Enjambment | “But already the light had saddened / from purple to grey.” | Line break carries over the meaning, reflecting a smooth yet somber transition. |
| Hyperbole | “Animals, aardvark to zebra, flocked to his side when he sang” | Exaggeration of Orpheus’s abilities mocks his supposed grandeur. |
| Imagery | “The light had saddened from purple to grey” | Vivid sensory detail conveys the fading hope and transition. |
| Irony | “A familiar knock-knock at Death’s door. Him. Big O.” | Juxtaposes humor with the seriousness of the Underworld setting. |
| Metaphor | “The Underworld, a shade, a shadow of my former self” | Describes Eurydice’s death through a metaphor for absence and loss of self. |
| Paradox | “The one place you’d think a girl would be safe from…a man” | Contrasts the supposed safety of the Underworld with Orpheus’s intrusion. |
| Personification | “Even the mute, sullen stones at his feet wept wee, silver tears” | Gives human traits to inanimate objects to mock Orpheus’s alleged impact. |
| Repetition | “Girls, I was dead and down” | Repetition of ‘dead’ emphasizes her separation from life. |
| Satire | “The Gods are like publishers, usually male” | Critiques male-dominated artistic and literary spaces with humor. |
| Symbolism | “The lyre” | Represents Orpheus’s poetic and artistic power, which Eurydice rejects. |
| Tone | A mix of humor, defiance, and irony throughout | Creates a feminist, subversive retelling of a classic myth. |
Themes: “Eurydice” by Carol Ann Duffy
- Female Agency and Empowerment: Eurydice” challenges traditional representations of women in mythology, presenting a narrative where the titular character asserts her independence. Eurydice actively manipulates Orpheus, ensuring her own return to the Underworld: “I did everything in my power to make him look back.” This act of defiance symbolizes her rejection of being defined solely as a muse or an extension of Orpheus’s artistry. Her refusal to be trapped in his metaphors and poetic forms—“I’d rather speak for myself than be Dearest, Beloved, Dark Lady”—emphasizes her desire for autonomy and a voice of her own, making this a feminist reclamation of her identity.
- Critique of Male-Centric Artistic Traditions: The poem critiques the patriarchal dominance in artistic and literary traditions, satirizing Orpheus’s perceived genius and his treatment of Eurydice as an artistic object. The line “The Gods are like publishers, usually male” metaphorically exposes the systemic bias that sidelines women’s voices in favor of male narratives. By portraying Orpheus as self-centered and oblivious—“He was smiling modestly when he turned, when he turned and he looked at me”—Duffy underscores the limitations of male-centric storytelling, which often silences or distorts female experiences.
- Freedom Through Silence and Death: The Underworld is portrayed as a place of peace and liberation for Eurydice, contrasting with traditional depictions of it as a realm of punishment. “It suited me down to the ground” reflects her contentment in a space where she is free from Orpheus’s gaze and oppressive influence. Death becomes a metaphor for freedom from societal and relational constraints, symbolizing her ultimate escape from the roles imposed on her by others. Her parting observation—“The wise, drowned silence of the dead”—elevates the quiet autonomy of the Underworld over the chaotic, performative life above.
- Subversion of Myth and Storytelling: Duffy reimagines the Orpheus and Eurydice myth, flipping the focus from the heroic male figure to the silenced female perspective. By rewriting the tale—“Forget what you’ve read. It happened like this”—Duffy questions the authority and reliability of traditional myths. The poem’s witty, ironic tone and its focus on Eurydice’s resistance to Orpheus’s attempts at rescue subvert the heroic narrative, highlighting how myth can be reinterpreted to reflect contemporary themes of equality and autonomy.
Literary Theories and “Eurydice” by Carol Ann Duffy
| Literary Theory | Explanation and Relevance | References from the Poem |
| Feminist Theory | Feminist literary theory examines texts for representations of gender inequality and patriarchal dominance. “Eurydice” critiques the silencing of women and the objectification of Eurydice as Orpheus’s muse. Duffy reclaims her voice, showing Eurydice as an autonomous figure who rejects traditional roles. | “I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc.” demonstrates her desire for independence and resistance to being objectified. |
| Postmodernism | Postmodernism challenges established narratives, embraces multiple perspectives, and questions the reliability of myths. Duffy subverts the traditional Orpheus and Eurydice myth, reframing the story from Eurydice’s point of view and rejecting Orpheus’s heroism. | “Forget what you’ve read. It happened like this.” reflects the postmodern skepticism of authoritative historical and literary narratives. |
| Psychoanalytic Theory | Psychoanalytic theory explores subconscious desires, conflicts, and the dynamics of relationships. Eurydice’s actions reflect her internal struggle for freedom from Orpheus’s controlling presence. Her manipulation of Orpheus to ensure her return to the Underworld reveals her deep desire for autonomy. | “I did everything in my power to make him look back.” highlights her subconscious need to break free from his dominance and reclaim her individuality. |
Critical Questions about “Eurydice” by Carol Ann Duffy
- How does “Eurydice” challenge traditional gender roles in mythology?
- Duffy reimagines Eurydice as an assertive character, rejecting her portrayal as a passive figure in the original myth. The poem critiques the patriarchal tradition of women being defined by their relationships to men, evident in lines like, “I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc.” This line underscores Eurydice’s frustration with being reduced to a poetic subject, raising the question of how myths perpetuate gender hierarchies and what it means for women to reclaim their voices in such narratives.
- What role does humor play in the feminist critique of the poem?
- Duffy employs wit and irony to deconstruct Orpheus’s legendary status, transforming him from a heroic figure into a source of comedic exaggeration. Phrases like, “Bollocks. (I’d done all the typing myself, I should know)” mock Orpheus’s artistic claims and highlight Eurydice’s agency. The humor not only makes the critique more accessible but also subverts the gravity of myth, inviting readers to question how seriously these male-centered stories should be taken.
- How does the poem explore the concept of freedom through silence and death?
- For Eurydice, the Underworld represents liberation from societal and relational constraints. Her description of death as a state where “language stopped, a black full stop” contrasts sharply with the verbose world of Orpheus’s poetry. This imagery portrays death as a form of escape and silence as a space for autonomy. The question arises: does Duffy suggest that true freedom for women in oppressive systems can only exist outside those systems, even in symbolic death?
- In what ways does the poem reflect on the power dynamics of storytelling?
- Duffy’s Eurydice critiques the male dominance in storytelling, likening the Gods to publishers—“usually male”—to draw parallels between the classical and modern artistic worlds. This critique questions whose voices are prioritized in cultural narratives. By declaring, “Forget what you’ve read. It happened like this,” Eurydice reclaims her narrative, prompting readers to consider how myths and histories might be reimagined if told from silenced perspectives.
Literary Works Similar to “Eurydice” by Carol Ann Duffy
- “Medusa” by Carol Ann Duffy
Shares a feminist reinterpretation of a classical myth, focusing on the voice of a traditionally vilified female figure, giving her agency and emotional depth. - “The Lady of Shalott” by Alfred, Lord Tennyson
Explores themes of female isolation and male dominance, reflecting the struggles of women trapped in societal roles while yearning for independence. - “Siren Song” by Margaret Atwood
Reimagines the myth of the Sirens, emphasizing the manipulative power of the female voice and critiquing male-centric perceptions of femininity. - “Demeter” by Carol Ann Duffy
Another poem from The World’s Wife, it revisits a mythological narrative from a maternal perspective, highlighting themes of loss, renewal, and female resilience.
Representative Quotations of “Eurydice” by Carol Ann Duffy
| Quotation | Context | Theoretical Perspective |
| “I was dead and down in the Underworld, a shade, a shadow of my former self.” | Eurydice introduces herself, emphasizing her detachment from life and her reduced state in death. | Feminist Theory: Highlights the erasure of female identity. |
| “A place where language stopped, a black full stop, a black hole.” | Describes the Underworld as a silent, peaceful escape from life’s constraints. | Psychoanalytic Theory: Reflects a subconscious desire for freedom. |
| “I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess.” | Rejects traditional roles imposed by male poets and reclaims her voice. | Feminist Theory: Critiques patriarchal artistic traditions. |
| “The Gods are like publishers, usually male.” | Satirizes the dominance of men in decision-making in both myth and modern literary fields. | Marxist Theory: Examines power dynamics in creative industries. |
| “He mustn’t look back or turn round… but already the light had saddened from purple to grey.” | Depicts the moment of Orpheus’s failure to resist looking back, symbolizing Eurydice’s liberation. | Postmodernism: Challenges the reliability of the original myth. |
| “Bollocks. (I’d done all the typing myself, I should know.)” | Humorously undermines Orpheus’s artistic claims, asserting her contribution to his work. | Feminist Theory: Subverts male authority over creative output. |
| “Forget what you’ve read. It happened like this.” | Directly challenges the traditional version of the Orpheus and Eurydice myth. | Postmodernism: Encourages alternative narratives. |
| “The dead are so talented. The living walk by the edge of a vast lake.” | Reflects on the wisdom of the dead versus the ignorance of the living. | Existentialism: Explores the profundity of silence and death. |
| “Orpheus, your poem’s a masterpiece. I’d love to hear it again…” | Eurydice manipulates Orpheus into looking back by appealing to his vanity. | Psychoanalytic Theory: Reveals Eurydice’s agency through psychological manipulation. |
| “I did everything in my power to make him look back.” | Confesses her active role in securing her independence by orchestrating Orpheus’s failure. | Feminist Theory: Asserts female autonomy and control over fate. |
Suggested Readings: “Eurydice” by Carol Ann Duffy
- Scannell, Vernon. Ambit, no. 159, 2000, pp. 69–70. JSTOR, http://www.jstor.org/stable/44342000. Accessed 15 Nov. 2024.
- DIMARCO, DANETTE. “Exposing Nude Art: Carol Ann Duffy’s Response to Robert Browning.” Mosaic: An Interdisciplinary Critical Journal, vol. 31, no. 3, 1998, pp. 25–39. JSTOR, http://www.jstor.org/stable/44029809. Accessed 15 Nov. 2024.
- Yorke, Liz. “British Lesbian Poetics: A Brief Exploration.” Feminist Review, no. 62, 1999, pp. 78–90. JSTOR, http://www.jstor.org/stable/1395648. Accessed 15 Nov. 2024.
- Nori, Beatrice. “Dreadful Dolls: Female Power in Carol Ann Duffy.” Linguæ &-Rivista di lingue e culture moderne 19.2 (2021): 71-85.