There's something about Orpheus' descent to Hades I'd never quite understood. Actually, it doesn't really have to do with his descent but rather with his and Eurydice's ascent back to life. It all seemed pretty simple, didn't it? All he had to do was walk out. Walk out, and not look back. That was it. He is unable to accomplish that, though, we all know that, and Eurydice remains in death while Orpheo is expelled from Hades.
Yet, why was it so important that he didn't turn back? Why did Hades asked that of him? What could be so troublesome and tragic about it? I'd never quite understood that, until recently. I'd never quite understood something that perhaps ain't as simple as walking: doubt. And the potential harm doubt contains which, when released, when enacted, or reenacted, might take the shape of a bomb, and expand in destruction around it. In destruction of what was already achieved, and of the possibilities that were potentially kept within that.
In Monteverdi's aria, Eurydice sings, right after Orfeo has given in to doubt and turned around: Ah, vista troppo dolce e troppo amara! Cosí, per troppo amor dunque mi perdi? Something like Oh, too sweet and too sour a vision! Is it thus that, because of too much love, you lose me? And here lies the other conundrum that puzzled me: how can love, too much love, be a cause of loss?
While Orfeo walks, in Monteverdi's opera, he first congratulates himself and his lyre for being able to move every heart in the underworld and gain Eurydice back, and then begins to savour the sweet company of his beloved which is so near at hand. But he then begins to doubt the gods, he thinks they might've played a cruel joke on him, he begins to think that maybe Eurydice isn't really following him, or that maybe the furies will try to steal her away from him. He begins to doubt, and doubt allows fear in. Both doubt and fear are fed by that very same and immense love, which in conjunction give birth to the ghost of loss. Orpheus hears a noise, and his fear is aroused. Lastly, fear causes him to break his promise to Hades and turn around, already convinced and scared that someone might be taking Eurydice away from him. But, alas! It is no one but himself who causes this loss. It is his doubt, followed by his fear, who inflict in himself the great pain of loss.
Trust, on the other hand, would've come in handy.
Y, disculparán sus mercedes el somewhat tacky clip y el súper tacky fondo musical, però, Christoffer Boe tuvo a bien retomar el mito hacia el final de su film Reconstruction. Sírvanse ustedes ir al minuto 2:30.