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 multitude of charms start with capitals suggesting that these things, shallow of significance, subject her to the essential being of his dream, subsequently, the cliché other to his own individual frequently expounded on in writing. Truth be told, Simone De Beauvoir plentifully specifies “the ides of ladies’ “otherness” [inferiority] has been built up and propagated through religion, reasoning and society.” which is most certainly depicted through the incongruity and gruffness of the speaker. An illustration of De Beauvoir’s point is the way Orpheus refers to her as “Dull Lady” which is the subject of a portion of Shakespeare’s pieces. He obviously orders himself to some degree contiguous Shakespeare consequently lighting his kindled 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 fanciful lady who addresses exhausted, exasperated ladies the world over. Eurydice could be viewed as a moral story for all despondently hitched females.

It is applicable to consider that these last lines of the sonnet are the most critical as they summarize the narcissism of Orpheus, the disparity of sexual orientations and the heritage that this sonnet passes on to the world. As the speaker comments how “The dead are so gifted”, obviously without her ability, creativity and creative mind, Orpheus wouldn’t be thought of “amazing”. This could be viewed as a moral story to show how men would not be anything without the underestimated ladies of the world. The uncertainty here offers a subsequent choice where the now dead, Eurydice is ‘capable’ on the grounds that she bests him by energizing into his pride and conceit. As it were, she recaptures her power and assumes control over issues. The possibility of ladies in power (not being careless, consistent and latent) being slandered or seen as unnatural by media, misleading publicity and society, by and large, is a wide idea investigated by numerous women’s activists. In The Feminine Mystique, Betty Friedan investigates how “ladies who battled for their privileges were viewed as “unnatural beasts” who were attempting “to upset God’s request for compliant women”playing the wonderful job of the manipulative lady persecuted by the manly authority who are compelled to utilize restricted means for their potential benefit, similar as Dido, Cleopatra and numerous other slandered ladies of history. As Eurydice finishes up how “the living stroll… close, the insightful, glared quiet of the dead.”, the peruser deduces that passing is being celebrated. It is hence conceivable that being dead is the main time that the two sexes are viewed as one and equivalent. This thought depends upon how the main spot that Eurydice finds comfort and correspondence is in death where the two sexual orientations are latent, agreeable and idle. Maybe to this end she thinks about the dead “astute” in light of the fact 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 male centric culture is so harmful and insensitive, that demise would be a pleasurable break.