The Seba library treats Eurynome in 7 passages, across 6 authors (including Hoeller, Stephan A., Hesiod, Liz Greene).
In the library
7 passages
the mother of heavenly chaos, Eurynome, who appeared naked from the original no-thing. She separated the sea and sky, and performed her solitary dance upon the waves.
Hoeller identifies Eurynome as the Pelasgian primordial creatrix — a pre-cosmic feminine principle emerging from nothing — and reads her as one of the clearest prototypes for Jung's paired archetypal deities in the Seven Sermons to the Dead.
Hoeller, Stephan A., The Gnostic Jung and the Seven Sermons to the Dead, 1982thesis
The Hesiodic index places Eurynome within the canonical sequence of Zeus's divine consorts, situating her in the ordered Olympian genealogy between Themis and Demeter.
Hesiod, Hesiod, the Homeric Hymns, and Homerica, -700supporting
Greene's index conflates Eurynome with Rhea, reflecting a depth-psychological tendency to merge pre-Olympian feminine figures into a single archetypal earth-mother.
meanwhile the nurse and Eurynome were making the bed up with soft coverings, under the light of their flaring torches.
This passage presents the Odyssean Eurynome as Penelope's household attendant — a homonymous figure distinct from the cosmogonic goddess and carrying no depth-psychological resonance in the corpus.
Meanwhile, the slaves were working: Eurynome and Eurycleia laid soft blankets on the sturdy bed by torchlight.
A parallel Odyssey translation confirms the domestic Eurynome's role as chambermaid at the reunion of Odysseus and Penelope, without mythological elaboration.
the Charites were threefold, whether the name is taken to refer to a flower, to the goddesses or to mortal maidens
Kerényi's account of the Charites and their origins implicitly invokes Eurynome's Hesiodic role as their mother, though she is not named here directly.