We need to find our own inspiration. Sometimes, it's not easy.

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
amurder-ofcrows
sawasawako-archived

thinking about how orpheus turning to look back at eurydice isn’t a sign of mortal frailness but a sign of love

meduseld

“Eurydice, dying now a second time, uttered no complaint against her husband. What was there to complain of, but that she had been loved?”
― Ovid, Metamorphoses

dean-winchesters-clit

This is true no matter the version you're reading.

1. Eurydice trips and Orpheus turns to help her because he loves her.

2. Orpheus cannot hear Eurydice behind him, and fearing that he's been tricked, turns to make sure she's there.

3. Orpheus makes it out of the Underworld, and so full of love and excitement to be with Eurydice, turns to embrace her, forgetting that they both need to be out of the Underworld.

No matter what happens in the story, Orpheus loses Eurydice because his love for her compels him to look.

wildefluorescent

Orpheus, I can forgive you, then,
There’s not a soul alive who wouldn’t have looked back

The Descent, by Tyler King

princesssarisa

Don’t forget Gluck’s opera, where Eurydice doesn’t know Orpheus is forbidden to look back, Orpheus is also forbidden to tell her, she assumes he must not love her anymore, and Orpheus finally looks back to reassure her of his love because he can’t bear her anguish.

In that version in particular, but possibly in all retellings, a part of us wants Orpheus to look back, because his failure proves his love.

billions-of-excited-atoms

I'd be the voice that urged Orpheus when her body was found
I'd be the choiceless hope in grief that drove him underground
I'd be the dreadful need in the devotee that made him turn around
And I'd be the immediate forgiveness in Eurydice

 - Talk - Hozier

the-movie-enthusiast
beyonceknowless

22 YEARS AGO ON DECEMBER 18, 1998 - DREAMWORKS ANIMATION RELEASED “THE PRINCE OF EGYPT”

Because DreamWorks was concerned about theological accuracy, they decided to call in Biblical scholars, Christian, Jewish, and Muslim theologians, and Arab American leaders to help the film be more accurate and faithful to the original story. After previewing the developing film, all these leaders noted that the studio executives listened and responded to their ideas, and praised the studio for reaching out for comment from outside sources.

The animation team for The Prince of Egypt included 350 artists from 34 different nations. Careful consideration was given to depicting the ethnicities of the ancient Egyptians, Hebrews, and Nubians properly.

Both character design and art direction worked to set a definite distinction between the symmetrical, more angular look of the Egyptians versus the more organic, natural look of the Hebrews and their related environments. The backgrounds department, headed by supervisors Paul Lasaine and Ron Lukas, oversaw a team of artists who were responsible for painting the sets/backdrops from the layouts. Within the film, approximately 934 hand-painted backgrounds were created.

THE PRINCE OF EGYPT (1998)