As long as Orpheus leaves Eurydice behind in the Underworld, the Orpheus/Eurydice myth must be understood as an "account...of deep-seated gender conflict" (Theweleit 137). As noted in the reference in the title, I assert that "Eurydice" is based on a real-life account of H.D.'s feelings toward both her husband, Richard Aldington, and D.H. Lawrence, at the time she wrote this work. Unlike the typical classical accounts of the myth, embodied primarily in Virgil's Georgics and Ovid's Metamorphoses where Eurydice is portrayed as the silent, "eternal feminine and silent Other," (142) this version of Eurydice speaks with a sharp tongue. Thus she eviscerates any typical portrayal of Orpheus as the "paradigmatic modern poet," as personified by the real-life D.H. Lawrence. H.D. outlines and seemingly expands on her poem of this gender conflict in a central scene of her autobiographical roman-a-clef Bid Me to Live, published in 1927. In the scene Rico, a famous writer (Lawrence/Orpheus) offers Julia, the novel's protagonist (H.D./Eurydice), some advice on one of her poems:
"I don't like the second half of the Orpheus sequence as well as the first. Stick to the woman speaking. How can you know what Orpheus feels? It's your part to be woman, the woman vibration, Eurydice should be enough. You can't deal with both" (H.D. 51).
Julia, who is clearly miffed, responds to Rico's inherent double standard:
"Rico could write elaborately on the woman mood, describe women to their marrow in his writing; but if she turned round, wrote the Orpheus part of her...sequence, he snapped back, 'Stick to the woman-consciousness, it is the intuitive woman-mood that matters.' He was right about that, of course. But if he could enter, so diabolically, into the feelings of women, why should she not enter into the feelings of men?" (62)
The point, of course, is Julia's angry focus on Rico's advice. Why, can Rico, as Orphic poet fix on and penetrate "the woman-consciousness with his piercing gaze" (Sword 410) while Julia (as a kind of Neo-Eurydicean figure) not also "turn round" and penetrate those of a man?

Works Cited
H.D., Bid Me to Live: A Madrigal, London: Virago, 1984.
Theweleit, Klaus, "The Politics of Orpheus between Women, Hades, Political Power and the Media: Some Thoughts on the Configuration of the European Artist, Starting with the Figure of Gottfried Benn, Or: What Happens to Eurydice?," New German Critique, 36 (Fall 1985), 133-56.