Eurydice

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Eu·ryd·i·ce

 (yo͝o-rĭd′ĭ-sē)
n. Greek Mythology
The wife of Orpheus, whom he failed to rescue from the underworld when he looked back at her on their journey back to the upper world of the living and so violated the command of Hades.

Eurydice

(jʊˈrɪdɪsɪ)
n
(Classical Myth & Legend) Greek myth a dryad married to Orpheus, who sought her in Hades after she died. She could have left Hades with him had he not broken his pact and looked back at her

Eu•ryd•i•ce

(yʊˈrɪd əˌsi, yə-)

n.
(in Greek myth) the wife of Orpheus.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Eurydice - (Greek mythology) the wife of OrpheusEurydice - (Greek mythology) the wife of Orpheus
Greek mythology - the mythology of the ancient Greeks
Translations

Eurydice

[jʊˈrɪdɪsiː] NEurídice

Eurydice

[jʊˈrɪdɪsɪ] nEuridice f
References in periodicals archive ?
Another record was found for Oskar Kokoschka: Orpheus und Eurydike exceeded expectations by selling for 3.3m [pounds sterling].
Just a very few examples: Peter Forgees: Privat Hungary filmseries--since 1988 (Varga, 2005) Bracha Ettinger: Eurydike, Matrix-Family Album (since 1992), Anri Sala' film: Intervista.
* On the evening of January 8th, the faint asteroid 75 Eurydike will cover up an 8.3-magnitude star in Auriga for up to 5 seconds along a track from North Carolina through Texas.
Found in tomb VIII at Vergina ("Tomb of Eurydike") and dated by the excavators to 340 B.C.
Axiothea is one of a series of female characters created by Renault who feel misplaced in their female bodies - a series that includes Colonna Kimball, Purposes of Love; Leo Lane, The Friendly Young Ladies; Hippolyta, Bull from the Sea; Eurydike, Funeral Games; and Renault herself.
Enckell used classical parallels to dramatize the problems of his time in a series of verse plays, including Orfeus och Eurydike (1938) and Alkman (1959).
In Kassel he inaugurated a chamber opera series that brought imaginative productions of works by Boieldieu, Cimarosa, Dittersdorf, Gretry, Offenbach, Pergolesi, and Schenk, as well as introducing recent works by Busoni, Korngold, Pfitzner, Schreker, Stravinsky, and the world premiere of Krenek's Orpheus und Eurydike. The greater resources of the Wiesbaden theater (with two performance venues) enabled Bekker to pursue a still more ambitious program that included revivals of major works by Berlioz, Gluck, Rossini, Verdi, and Weber, as well as Wiesbaden first performances of newer operas by Busoni, Casella, Delius, Hindemith, Krenek, Milhaud, Pfitzner, Schreker, Stravinsky, Stephan, and Weill.
"New opera involves issues of seeing how music relates to ideology and culture," Johannes Birringer argues; in his rendering, titled Orpheus and Eurydike, multiple narratives, citational references and overlapping performances--including 22 women who simultaneously but independently portray "Eurydike"--serve Birringer's attempt "to break into the myth without having to repeat the story--boy loses girl and tries to get her back."