In Stanza 5, Eurydice records the names that Orpheus calls her yet none acknowledging her as a genuine individual – “Dearest, Beloved, Dark Lady, White Goddess and so on, Etc.” It is pertinent to consider how this large number of charms start with capitals suggesting that these things, shallow of significance, subject her to the fundamental being of his dream, thusly, the cliché other to his own individual frequently expounded on in writing. As a matter of fact, Simone De Beauvoir bountifully makes reference to “the ides of ladies’ “otherness” [inferiority] has been supported and sustained through religion, reasoning and society.” which is certainly depicted through the incongruity and obtuseness of the speaker. An illustration of De Beauvoir’s point is the way Orpheus refers to her as “Dim Lady” which is the subject of a portion of Shakespeare’s poems. He plainly groups himself to some degree nearby Shakespeare in this way lighting his excited self image and makes Eurydice, his Dark Lady equivalent to one of Shakespeare sonnets, an item, a thing contained from man and in particular, not her own individual. Duffy is expounding on a legendary lady who addresses exhausted, exasperated ladies the world over. Eurydice could be viewed as a moral story for all miserably hitched females.

It is applicable to consider that these last lines of the sonnet are the most critical as they summarize the conceit of Orpheus, the disparity of sexes and the inheritance that this sonnet passes on to the world. As the speaker comments how “The dead are so gifted”, obviously without her ability, imaginativeness and creative mind, Orpheus wouldn’t be thought of “incredible”. This could be viewed as a moral story to show how men would not be anything without the underestimated ladies of the world. The vagueness here offers a subsequent choice where the now dead, Eurydice is ‘gifted’ in light of the fact that she bests him by filling into his vanity and pretention. As it were, she recovers her power and assumes control over issues. The possibility of ladies in power (not being self-satisfied, consistent and latent) being reviled or seen as unnatural by media, promulgation and society, as a rule, is a wide idea investigated by numerous women’s activists. In The Feminine Mystique, Betty Friedan investigates how “ladies who battled for their freedoms were viewed as “unnatural beasts” who were attempting “to upset God’s request for docile women”playing the grand job of the manipulative lady abused by the manly authority who are compelled to utilize restricted means for their potential benefit, similar as Dido, Cleopatra and numerous other maligned ladies of history. As Eurydice finishes up how “the living stroll… close, the savvy, grimaced quietness of the dead.”, the peruser construes that passing is being celebrated. It is subsequently conceivable that being dead is the main time that the two sexual orientations are viewed as one and equivalent. This thought depends upon how the main spot that Eurydice finds comfort and uniformity is in death where the two sexes are latent, consistent and idle. Maybe for this reason she thinks about the dead “astute” on the grounds that they don’t have motivation to stick to any cultural shows and that is sufficient to find happiness in the hereafter quietly. Obviously Duffy is making a critical point about how a man centric culture is so poisonous and uncaring, that demise would be a pleasurable getaway.