Krewe of Orpheus guarded the gates of Hell. He passed through crowds of ghosts, and presented himself before Hades and Persephone. Orpheus strummed his lyre as he implored them to return Eurydice to the realm of the living. As he sang, the ghosts wept and the cheeks of the Furies became wet with tears. The yearning notes from Orpheus' lyre had kindled their memories of the sweet secrets of life's pleasures. At last, Eurydice was called forth. Orpheus was permitted to take her away, on condition that he should not turn to look at her until they both reached the surface. They traveled
The Gaze of Orpheus Common analogies are made between Orpheus’s gaze and writing processes, philosophical interpretation, and artistic origins. Some of the most famous uses of the gaze of Orpheus can be found in Maurice Blanchot’s work The Gaze of Orpheus, Geoffrey Sirc’s, The Composition’s Eye/Orpheus’s Gaze/Cobain’s Journals, and Jaques Lacan’s work on the mirror stage Blanchot's interpretation or use of the Gaze of Orpheus is in artistic creation. Some have offered, “…the Orpheus myth as a model which provides ways to discuss many of the features of Blanchot's work, which until now appeared not to have common thematic links” (Champagne 1254). The path