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As she does this, it upsets Cupid greatly, and he decides as long as the curse stays on Psyche, he Carol Gilligan uses the story as the basis for much of her analysis of love and relationships in The Birth of CUPID AND PSYCHE — an allegorical representation of the trials of the soul on its way to the...The Story Psyche is so beautiful that the jealous goddess Venus commands her son Cupid to make her fall in love with an unworthy man. However, Cupid falls in love with Psyche himself. Concerned about Psyche's lack of suitors, her parents consult the oracle of Apollo.Cupid and psyche theme.Was there something about Psyche that was more than human from the very beginning, and why did she win the attention of Cupid and Psyche. You know what they say: curiosity killed the cat. She offered to serve the goddess in every way possible could she but see her...Cupid and Psyche. Lucius Apuleius. A certain king and queen had three daughters. In vain then did that royal shepherd, whose judgment was approved by Jove himself, give me the palm of beauty She repaired thither and told them the whole story of her misfortunes, at which, pretending to grieve...How does Psyche's being change when she becomes immortal? Was there something about Psyche that was more than human from the very The story continues to explore the distinction between humans and gods, as Venus is bitterly jealous of a mortal who draws other mortals away from her, a...

The Story of Cupid and Psyche, c.1695-7

LEARNING TASKS TASK 2: Cupid and Psyche Directions: Read the story in pages 14-23 and answer the 3. How does Psyche win back Your answer: her husband's trust? 4. What would you consider as Your Explain how the setting affected the story's plot, characters, conflict, and themes?Psyche was born so beautiful that she was worshipped as a new incarnation of Venus, the goddess of love. But human lovers were too intimidated to approach her, and Apollo recommended But Psyche's story ended up being much more interesting. Brendan Pelsue shares the myth of Cupid and Psyche.Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus).Psyche had been married to Cupid without having first seen him and being forbidden by him to do so. The theme is accentuated in the story as Psyche undergoes great obstacles to remedy her having betrayed Cupid because of the influence of others.

Which theme does the story of Cupid and Psyche convey?

In the myth, Cupid only comes to Psyche in the dark, so she doesn't know who he is or what he What's Cupid's motivation for hiding his identity? Was he planning to do that indefinitely if Psyche The story is about trusting your emotions over your reason (or gossip, or relatives, come to that)...Listen to the story of Cupid and Psyche. STORYTELLER: Psyche was so beautiful a mortal that Venus, Goddess of Love, became jealous. She sent Cupid, her son, to shoot her rival with one of his arrows and make her fall in love with the first miserable creature she saw.Other articles where The Loves of Cupid and Psyche is discussed: Jean de La Fontaine: Miscellaneous writings and the Contes: …is the La Fontaine did not invent the basic material of his Fables; he took it chiefly from the Aesopic tradition and, in the case of the second collection, from the...Myths, such as the Greek story of Cupid and Psyche, often serve at least these two functions: they try to explain a fact of nature, religion, or science, such as birth In this context, which "problem" and corresponding "solution" does the story of Cupid and Psyche—first compiled in the second century...The story of Cupid and Psyche is no exception.* This is clearly a romance that has transcended time. And so she did, with many tests and punishments. In the meantime, Cupid was recovering from his wound * The story of Cupid and Psyche first appeared in the Roman novel, Metamorphoseon...

Jump to navigation Jump to go looking For other uses, see Cupid and Psyche (disambiguation). Psyche and Amor, sometimes called Psyche Receiving Cupid's First Kiss (1798), via François Gérard: a symbolic butterfly hovers over Psyche in a moment of innocence poised ahead of sexual awakening.[1]

Cupid and Psyche is a story at the start from Metamorphoses (often known as The Golden Ass), written in the Second century AD by way of Lucius Apuleius Madaurensis (or Platonicus).[2] The tale issues the overcoming of stumbling blocks to the love between Psyche (/ˈsaɪkiː/; Greek: Ψυχή, Greek pronunciation: [psyː.kʰɛ̌ː], "Soul" or "Breath of Life") and Cupid (Latin Cupido, "Desire") or Amor ("Love", Greek Eros, Ἔρως), and their ultimate union in a sacred marriage. Although the most effective extended narrative from antiquity is that of Apuleius from Second century AD, Eros and Psyche seem in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to thriller religions accommodate multiple interpretations,[3] and it's been analyzed as an allegory and in mild of folktale, Märchen or fairy story, and delusion.[4]

The story of Cupid and Psyche was once recognized to Boccaccio in c. 1370, but the editio princeps dates to 1469. Ever since, the reception of Cupid and Psyche in the classical custom has been in depth. The story has been retold in poetry, drama, and opera, and depicted extensively in painting, sculpture, and even wallpaper.[5] Though Psyche is normally referred to in Roman mythology by way of her Greek identify, her Roman identify via direct translation is Anima.

In Apuleius

Psyche Honoured by way of the People (1692–1702) from a chain of 12 scenes from the story by Luca Giordano

The story of Cupid and Psyche (or "Eros and Psyche") is placed at the midpoint of Apuleius's novel, and occupies about a fifth of its overall period.[6] The novel itself is a first-person narrative by way of the protagonist Lucius. Transformed into a donkey through magic gone incorrect, Lucius undergoes quite a lot of trials and adventures, and after all regains human shape through eating roses sacred to Isis. Psyche's story has some similarities, together with the theme of unhealthy curiosity, punishments and assessments, and redemption through divine choose.[7]

As a structural replicate of the overarching plot, the tale is an example of mise en abyme. It happens inside of a complex narrative body, with Lucius recounting the story because it in turn was advised by means of an old girl to Charite, a bride abducted by way of pirates on her wedding ceremony day and held captive in a cave.[6] The happy finishing for Psyche is meant to soothe Charite's worry of rape, in one of several cases of Apuleius's irony.[8]

Although the tale resists explication as a strict allegory of a particular Platonic argument, Apuleius drew most often on imagery reminiscent of the exhausting ascent of the winged soul (Phaedrus 248) and the union with the divine accomplished by Soul thru the company of the daimon Love (Symposium 212b).[9]

Story Psyche's Wedding (Pre-Raphaelite, 1895) by Edward Burne-Jones

There have been as soon as a king and queen,[10] rulers of an unnamed city, who had 3 daughters of conspicuous good looks. The youngest and most pretty used to be Psyche, whose admirers, neglecting the right kind worship of the love goddess Venus, as a substitute prayed and made offerings to her. It used to be rumored that she was the 2nd coming of Venus, or the daughter of Venus from an unseemly union between the goddess and a mortal. Venus is angry, and commissions Cupid to paintings her revenge. Cupid is sent to shoot Psyche with an arrow so that she might fall in love with something hideous. He instead scratches himself with his personal dart, which makes any dwelling thing fall in love with the very first thing it sees. Consequently, he falls deeply in love with Psyche and disobeys his mom's order.

Although her two humanly stunning sisters have married, the idolized Psyche has but to seek out love. Her father suspects that they have incurred the wrath of the gods, and consults the oracle of Apollo. The response is unsettling: the king is to expect no human son-in-law, but moderately a dragon-like creature who harasses the world with fire and iron and is feared via even Jupiter and the inhabitants of the underworld.

Psyche is arrayed in funeral apparel, conveyed through a procession to the top of a rocky crag, and uncovered. Marriage and dying are merged into a unmarried ceremony of passage, a "transition to the unknown".[11]Zephyrus the West Wind bears her as much as meet her fated fit, and deposits her in an exquisite meadow (locus amoenus), the place she promptly falls asleep.

The transported lady awakes to seek out herself at the edge of a cultivated grove (lucus). Exploring, she finds a wonderful space with golden columns, a carved ceiling of citrus wooden and ivory, silver partitions embossed with wild and domesticated animals, and jeweled mosaic flooring. A disembodied voice tells her to make herself at ease, and she is entertained at a feast that serves itself and through singing to an invisible lyre.

Although fearful and without the right kind enjoy, she permits herself to be guided to a bed room, where in the darkness a being she can't see has sex together with her. She gradually learns to look ahead to his visits, though he always departs earlier than dawn and forbids her to look upon him. Soon, she turns into pregnant.

Violation of trust

Psyche's family longs for information of her, and after a lot cajoling, Cupid, still unknown to his bride, allows Zephyr to hold her sisters up for a seek advice from. When they see the splendor in which Psyche lives, they grow to be green with envy, and undermine her happiness via prodding her to discover her husband's true id, since undoubtedly as foretold by the oracle she used to be mendacity with the vile winged serpent, who would consume her and her child.

Psyche Showing Her Jewelry to Her Sisters (Neoclassical, 1815–16), grisaille wallpaper by way of Merry-Joseph Blondel

One night time after Cupid falls asleep, Psyche carries out the plan her sisters devised: she brings out a dagger and a lamp she had hidden in the room, so as to see and kill the monster. But when the mild instead unearths the most beautiful creature she has ever seen, she is so startled that she wounds herself on one of the arrows in Cupid's cast-aside quiver. Struck with a feverish passion, she spills scorching oil from the lamp and wakes him. He flees, and even though she tries to pursue, he flies away and leaves her on the bank of a river.

There she is came upon via the barren region god Pan, who recognizes the indicators of interest upon her. She recognizes his divinity (numen), then starts to wander the earth on the lookout for her misplaced love.

Amore e Psiche (1707–09) by means of Giuseppe Crespi: Psyche's use of the lamp to peer the god is every now and then thought to reflect the magical observe of lychnomancy, a form of divination or spirit conjuring.[12]

Psyche visits first one sister, then the different; both are seized with renewed envy upon learning the identity of Psyche's secret husband. Each sister attempts to provide herself as an alternative via hiking the rocky crag and casting herself upon Zephyr for conveyance, however as an alternative is authorized to fall to a brutal dying.

Wanderings and trials

In the course of her wanderings, Psyche comes upon a temple of Ceres, and within reveals a disorder of grain choices, garlands, and agricultural implements. Recognizing that the correct cultivation of the gods must no longer be disregarded, she puts the whole lot in good order, prompting a theophany of Ceres herself. Although Psyche prays for her support, and Ceres acknowledges that she merits it, the goddess is illegitimate from helping her against a fellow goddess. A identical incident happens at a temple of Juno. Psyche realizes that she will have to serve Venus herself.

Venus revels in having the lady below her power, and turns Psyche over to her two handmaids, Worry and Sadness, to be whipped and tortured. Venus tears her clothes and bashes her head into the flooring, and mocks her for conceiving a child in a sham marriage. The goddess then throws before her an excellent mass of blended wheat, barley, poppyseed, chickpeas, lentils, and beans, not easy that she type them into separate tons via daybreak. But when Venus withdraws to attend a wedding ceremonial dinner, a type ant takes pity on Psyche, and assembles a fleet of bugs to accomplish the activity. Venus is furious when she returns drunk from the feast, and most effective tosses Psyche a crust of bread. At this point in the story, it's published that Cupid may be in the area of Venus, languishing from his harm.

Psyche's Second Task (Mannerist, 1526–28) via Giulio Romano, from the Palazzo del Tè

At daybreak, Venus sets a 2d task for Psyche. She is to go a river and fetch golden wool from violent sheep who graze on the different aspect. These sheep are in different places identified as belonging to Helios.[13] Psyche's best purpose is to drown herself on the approach, but as an alternative she is saved through instructions from a divinely inspired reed, of the kind used to make musical instruments, and gathers the wool stuck on briers.

For Psyche's 3rd activity, she is given a crystal vessel in which to assemble the black water spewed by means of the source of the rivers Styx and Cocytus. Climbing the cliff from which it problems, she is daunted through the foreboding air of the place and dragons slithering thru the rocks, and falls into depression. Jupiter himself takes pity on her, and sends his eagle to combat the dragons and retrieve the water for her.

Psyche and the underworld

The last trial Venus imposes on Psyche is a quest to the underworld itself. She is to take a field (pyxis) and obtain in it a dose of the good looks of Proserpina, queen of the underworld. Venus claims her personal good looks has light through tending her in poor health son, and she needs this remedy as a way to attend the theatre of the gods (theatrum deorum).

Psyché aux enfers (1865) via Eugène Ernest Hillemacher: Charon rows Psyche past a lifeless guy in the water and the previous weavers on shore

Once once more despairing of her activity, Psyche climbs a tower, making plans to throw herself off. The tower, on the other hand, breaks into speech, and advises her to commute to Lacedaemon, Greece, and to seek out the position known as Taenarus, the place she will to find the entrance to the underworld. The tower provides directions for navigating the underworld:

The airway of Dis is there, and thru the yawning gates the pathless direction is printed. Once you pass the threshold, you are dedicated to the unswerving route that takes you to the very Regia of Orcus. But you shouldn't go emptyhanded via the shadows past this point, but fairly raise cakes of honeyed barley in each fingers,[14] and delivery two coins on your mouth.

The talking tower warns her to care for silence as she passes by means of several ominous figures: a lame man using a mule loaded with sticks, a dead guy swimming in the river that separates the international of the dwelling from the global of the useless, and previous ladies weaving. These, the tower warns, will search to divert her through pleading for her help: she will have to ignore them. The muffins are treats for distracting Cerberus, the three-headed watchdog of Orcus, and the two coins for Charon the ferryman, so she will make a return go back and forth.

Everything involves go consistent with plan, and Proserpina grants Psyche's humble entreaty. As quickly as she reenters the light of day, alternatively, Psyche is overcome by way of a bold interest, and can't withstand opening the field in the hope of bettering her own attractiveness. She finds not anything inside but an "infernal and Stygian sleep," which sends her right into a deep and unmoving torpor.

Cupid and Psyche (1639–40) via Anthony van Dyck: Cupid reveals the sleeping Psyche Reunion and immortal love

Meanwhile, Cupid's wound has healed right into a scar, and he escapes his mom's space through flying out of a window. When he unearths Psyche, he attracts the sleep from her face and replaces it in the box, then pricks her with an arrow that does no hurt. He lifts her into the air, and takes her to give the box to Venus.

He then takes his case to Zeus, who gives his consent in go back for Cupid's long term lend a hand whenever a choice maiden catches his eye. Zeus has Hermes convene an assembly of the gods in the theater of heaven, where he makes a public statement of approval, warns Venus to back off, and gives Psyche ambrosia, the drink of immortality,[15] so the couple can be united in marriage as equals. Their union, he says, will redeem Cupid from his history of scary adultery and sordid liaisons.[16] Zeus's phrase is solemnized with a marriage banquet.

With its glad marriage and solution of conflicts, the story leads to the approach of classic comedy[17] or Greek romances such as Daphnis and Chloe.[18] The child born to the couple will be Voluptas (Greek Hedone 'Ηδονή), "Pleasure."

The Wedding of Cupid and Psyche The Wedding Banquet of Cupid and Psyche (1517) by means of Raphael and his workshop, from the Loggia di Psiche, Villa Farnesina

The meeting of the gods has been a well-liked subject for both visible and acting arts, with the marriage ceremony ceremonial dinner of Cupid and Psyche a particularly rich instance. With the marriage ceremony of Peleus and Thetis, that is the most not unusual atmosphere for a "Feast of the Gods" scene in art. Apuleius describes the scene in phrases of a festive Roman dinner celebration (cena). Cupid, now a husband, reclines in the position of honor (the "top" sofa) and embraces Psyche in his lap. Zeus and Hera situate themselves likewise, and all the different gods are arranged in order. The cupbearer of Jove (Zeus's other Roman name) serves him with nectar, the "wine of the gods"; Apuleius refers to the cupbearer most effective as ille rusticus puer, "that country boy," and no longer as Ganymede. Liber, the Roman god of wine, serves the rest of the company. Vulcan, the god of hearth, chefs the food; the Horae ("Seasons" or "Hours") beautify, or more literally "empurple," the whole lot with roses and other flowers; the Graces suffuse the atmosphere with the smell of balsam, and the Muses with melodic singing. Apollo sings to his lyre, and Venus takes the starring position in dancing at the wedding, with the Muses as her refrain girls, a satyr blowing the aulos (tibia in Latin), and a young Pan expressing himself via the pan pipes (fistula).

The marriage ceremony provides closure for the narrative construction as well as for the love story: the mysteriously supplied pleasures Psyche enjoyed in the domus of Cupid at the starting of her odyssey, when she entered into a false marriage preceded by way of funeral rites, are reimagined in the hall of the gods following right kind ritual procedure for a real marriage.[19] The arranging of the gods in their correct order (in ordinem) would evoke for the Roman target audience the spiritual ceremony of the lectisternium, a public dinner party held for the major deities in the form of statues arranged on sumptuous couches, as if they have been provide and taking part in the meal.[20]

Marriage of Cupid and Psyche (c. 1773), jasperware via Wedgwood in keeping with the 1st-century Marlborough gem, which in all probability was supposed to depict an initiation ceremony (Brooklyn Museum)

The wedding ceremony ceremonial dinner used to be a favored theme for Renaissance artwork. As early as 1497, Giovanni Sabadino degli Arienti made the banquet central to his now-lost Cupid and Psyche cycle at the Villa Belriguardo, close to Ferrara. At the Villa Farnesina in Rome, it is one of two major scenes for the Loggia di Psiche (ca. 1518) by Raphael and his workshop, as well as for the Stanza di Psiche (1545–46) by way of Perino del Vaga at the Castel Sant' Angelo.[20]Hendrick Goltzius presented the subject to northern Europe with his "enormous" engraving called The Wedding of Cupid and Psyche (1587, 43 by way of 85.4 cm),[21] which influenced how different northern artists depicted assemblies of the gods on the whole.[22] The engraving in turn have been taken from Bartholomaeus Spranger's 1585 drawing of the similar title, regarded as a "locus classicus of Dutch Mannerism" and mentioned through Karel Van Mander for its exemplary composition involving a large number of figures.[23]

In the 18th century, François Boucher's Marriage of Cupid and Psyche (1744) affirmed Enlightenment ideals with the authority determine Jupiter presiding over a wedding of lovely equals. The painting reflects the Rococo taste for pastels, fluid delicacy, and amorous scenarios infused with formative years and beauty.[24]

As allegory

Psyche in the grove of Cupid, 1345 representation of the Metamorphoses, Biblioteca Apostolica Vaticana[25]

The story of Cupid and Psyche used to be readily allegorized. In overdue antiquity, Martianus Capella (5th century) refashions it as an allegory about the fall of the human soul.[26] For Apuleius, immortality is granted to the soul of Psyche as a reward for commitment to sexual love. In the model of Martianus, sexual love draws Psyche into the subject material global this is subject to dying:[27] "Cupid takes Psyche from Virtue and shackles her in adamantine chains".[28]

The story thus lent itself to adaptation in a Christian or mystical context. In the Gnostic textual content On the Origin of the World, the first rose is created from the blood of Psyche when she loses her virginity to Cupid.[29] To the Christian mythographer Fulgentius (Sixth century), Psyche was once an Adam determine, driven by sinful interest and lust from the paradise of Love's area.[30] Psyche's sisters are Flesh and Free Will, and her oldsters are God and Matter.[31] To Boccaccio (14th century), the marriage of Cupid and Psyche symbolized the union of soul and God.[30]

The temptation to interpret the story as a non secular or philosophical allegory can nonetheless be present in fashionable scholarship; for was no longer Apuleius a significant Platonic philosopher? Surely Psyche through her very title represents the aspirations of the human soul – in opposition to a divine love personified in Cupid? But this misses the characterisation of Cupid as a corrupter who delights in disrupting marriages (The Golden Ass IV. 30) and is himself "notorious for his adulteries" (VI. 23), the marked sensuality of his union with Psyche (V. 13), the assist Jupiter provides him if he provides a new woman for Jupiter to seduce (VI. 22) and the name given to Cupid and Psyche's child – Voluptas (Pleasure).

Classical tradition

Apuleius's novel was amongst the historical texts that made the crucial transition from roll to codex form when it was edited at the end of the 4th century. It was once identified to Latin writers similar to Augustine of Hippo, Macrobius, Sidonius Apollinaris, Martianus Capella, and Fulgentius, however toward the end of the Sixth century lapsed into obscurity and survived what was previously known as the "Dark Ages" through perhaps a unmarried manuscript.[32] The Metamorphoses remained unknown in the thirteenth century,[33] however copies started to circulate in the mid-1300s among the early humanists of Florence.[34] Boccaccio's textual content and interpretation of Cupid and Psyche in his Genealogia deorum gentilium (written in the 1370s and published 1472) was a big impetus to the reception of the story in the Italian Renaissance and to its dissemination throughout Europe.[35]

One of the most well liked pictures from the story was once Psyche's discovery of a naked Cupid sound asleep, present in ceramics, stained glass, and frescos. Mannerist painters have been intensely attracted to the scene.[36] In England, the Cupid and Psyche theme had its "most lustrous period" from 1566 to 1635, starting with the first English translation by way of William Adlington. A fresco cycle for Hill Hall, Essex, was modeled indirectly after that of the Villa Farnesina around 1570,[37] and Thomas Heywood's masque Love's Mistress dramatized the story to have a good time the wedding of Charles I and Henrietta Maria, who later had her withdrawing chamber adorned with a 22-painting Cupid and Psyche cycle through Jacob Jordaens. The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was once a vehicle for the Neoplatonism the queen introduced with her from France.[38] The Cupid and Psyche produced by means of Orazio Gentileschi for the royal couple presentations a completely robed Psyche whose compelling pastime is psychological, whilst Cupid is most commonly nude.[39]

Orazio Gentileschi exposed the erotic vulnerability of the male determine in his Cupid and Psyche (1628–30)

Another top of passion in Cupid and Psyche occurred in the Paris of the past due 1790s and early 1800s, reflected in a proliferation of opera, ballet, Salon art, deluxe guide editions, interior ornament corresponding to clocks and wall paneling, and even hairstyles. In the aftermath of the French Revolution, the myth become a automobile for the refashioning of the self.[40] In English highbrow and creative circles around the flip of the 18th and nineteenth centuries, the fashion for Cupid and Psyche accompanied a fascination for the historical mystery religions. In writing about the Portland Vase, which was got by means of the British Museum around 1810, Erasmus Darwin speculated that the myth of Cupid and Psyche was once section of the Eleusinian cycle. With his passion in natural philosophy, Darwin noticed the butterfly as an apt emblem of the soul as a result of it all started as an earthbound caterpillar, "died" into the pupal stage, and was then resurrected as an exquisite winged creature.[41]

Literature

In 1491, the poet Niccolò da Correggio retold the story with Cupid as the narrator.[42]John Milton alludes to the story at the conclusion of Comus (1634), attributing not one but two youngsters to the couple: Youth and Joy. Shackerley Marmion wrote a verse version known as Cupid and Psyche (1637), and La Fontaine a combined prose and verse romance (1699).[42]

William Blake's mythology attracts on elements of the tale specifically in the figures of Luvah and Vala. Luvah takes on the more than a few guises of Apuleius's Cupid: gorgeous and winged; disembodied voice; and serpent. Blake, who mentions his admiration for Apuleius in his notes, combines the myth with the religious quest expressed via the eroticism of the Song of Solomon, with Solomon and the Shulamite as a parallel couple.[43]

Cupid and Psyche (1817) via Jacques-Louis David: the choice of narrative second—a libertine adolescent Cupid departs Psyche's bed with "malign joy"[44]—was a new twist on the well-worn matter[45]

Mary Tighe revealed her poem Psyche in 1805. She added some main points to the story, such placing two springs in Venus' garden, one with sweet water and one with bitter. When Cupid begins to obey his mother's command, he brings some of both to a snoozing Psyche, but places handiest the bitter water on Psyche's lips. Tighe's Venus most effective asks one process of Psyche, to bring her the forbidden water, however in performing this task Psyche wanders into a country bordering on Spenser's Fairie Queene as Psyche is aided by way of a mysterious visored knight and his squire Constance, and must break out various traps set by means of Vanity, Flattery, Ambition, Credulity, Disfida (who lives in a "Gothic castle"), Varia and Geloso. Spenser's Blatant Beast also makes an look. Tighe's work influenced English lyric poetry on the theme, including two poems through William Wordsworth referred to as "To a Butterfly,"[46] and the Ode to Psyche (1820) by way of John Keats.[47]Letitia Elizabeth Landon's poem Cupid and Psyche (1826) illustrates an engraving of a painting by W. E. West.

William Morris retold the Cupid and Psyche story in verse in The Earthly Paradise (1868–70), and a bankruptcy in Walter Pater's Marius the Epicurean (1885) used to be a prose translation.[42] About the same time, Robert Bridges wrote Eros and Psyche: A Narrative Poem in Twelve Measures (1885; 1894).

Sylvia Townsend Warner transferred the story to Victorian England in her novel The True Heart (1929), though few readers made the connection until she pointed it out herself.[48] Other literary adaptations come with The Robber Bridegroom (1942), a novella by means of Eudora Welty; Till We Have Faces (1956), a version by C.S. Lewis narrated by way of a sister of Psyche; and the poem "Psyche: 'Love drove her to Hell'" by way of H.D. (Hilda Doolittle).[49]Robert A. Johnson made use of the story in his e book She: Understanding Feminine Psychology, published in 1976 via HarperCollinsPublishers.

Translations

William Adlington made the first translation into English of Apuleius's Metamorphoses in 1566, below the identify The XI Bookes of the Golden Asse, Conteininge the Metamorphosie of Lucius Apuleius. Adlington turns out to not had been serious about a Neoplatonic reading, but his translation persistently suppresses the sensuality of the unique.[36]Thomas Taylor printed an influential translation of Cupid and Psyche in 1795, a number of years earlier than his whole Metamorphoses.[50] A translation by Robert Graves appeared in 1951 as The Transformations of Lucius Otherwise Known as THE GOLDEN ASS, A New Translation by Robert Graves from Apuleius, revealed through Farrar, Straus & Giroux, New York.

Folklore and kids's literature Pan and Psyche (1872-74) by Edward Burne-Jones

German philologist Ludwig Friedländer listed a number of variants of "Animal Bridegroom" and "Search for the Lost Husband" tales, as amassed or written in famous European works, as phase of the "Cupid and Psyche" cycle of tales (which later was referred to as "The Search for the Lost Husband").[51][52]

Bruno Bettelheim notes in The Uses of Enchantment that the 18th-century fairy story Beauty and the Beast is a model of Cupid and Psyche. Motifs from Apuleius occur in numerous fairy stories, including Cinderella and Rumpelstiltskin, in variations gathered through folklorists trained in the classical custom, akin to Charles Perrault and the Grimm brothers.[53] In the Grimm model, Cinderella is given the process of sorting lentils and peas from ash, and is aided via birds just as ants help Psyche in the sorting of grain and legumes imposed on her through Venus. Like Cinderella, Psyche has two green with envy sisters who compete along with her for the most fascinating male. Cinderella's sisters mutilate their very own ft to emulate her, whilst Psyche's are dashed to loss of life on a rocky cliff.[54] In Hans Christian Andersen's The Little Mermaid, the Little Mermaid is given a dagger by means of her sisters, who, in an attempt to end all the suffering she endured and to let her turn out to be a mermaid once more, try to persuade her to make use of it to slay the Prince while he's asleep along with his new bride. She cannot bring herself to kill the Prince, however. Unlike Psyche, who turns into immortal, she does not obtain his love in return, but she, however, in the end earns the eternal soul she yearns for.

Thomas Bulfinch wrote a shorter adaptation of the Cupid and Psyche story for his Age of Fable, borrowing Tighe's invention of Cupid's self-wounding, which did not seem in the authentic. Josephine Preston Peabody wrote a model for kids in her Old Greek Folk Stories Told Anew (1897).

C.S. Lewis' Till We Have Faces is a retelling of Apuleius' Cupid and Psyche from the standpoint of one of Psyche's sisters. Till We Have Faces is C.S. Lewis' ultimate work of fiction and elaborates on Apuleius' story in a contemporary approach.

Performing arts

In 1634, Thomas Heywood grew to become the tale of Cupid and Psyche into a masque for the court of Charles I.[55]Lully's Psyché (1678) is a Baroque French opera (a "tragédie lyrique") in line with the 1671 play via Molière, which had musical intermèdes by Lully. Matthew Locke's semi-opera Psyche (1675) is a loose remodeling from the 1671 manufacturing. In 1800, Ludwig Abeille premièred his four-act German opera (singspiel) Amor und Psyche, with a libretto by way of Franz Carl Hiemer based on Apuleius.

Psyche et L'Amour (1889) by way of Bouguereau

In the 19th century, Cupid and Psyche used to be a source for "transformations," visible interludes involving tableaux vivants, transparencies and stage equipment that had been introduced between the scenes of a pantomime however extraneous to the plot.[56] During the Nineties, when tableaux vivants or "living pictures" were in style as a part of vaudeville, the 1889 Psyché et l'Amour of Bouguereau was among the artistic endeavors staged. To create those tableaux, costumed performers "froze" in poses earlier than a background copied meticulously from the original and enlarged inside of an enormous image frame. Nudity used to be feigned via flesh-colored bodystockings that negotiated requirements of realism, good style, and morality.[57] Claims of tutorial and inventive price allowed female nudes—a popular enchantment—to evade censorship.[58]Psyché et l'Amour was reproduced by the scenic painter Edouard von Kilanyi, who made a excursion of Europe and the United States beginning in 1892,[59] and by means of George Gordon in an Australian production that began its run in December 1894.[60] The phantasm of flight was once so difficult to maintain that this tableau used to be essentially brief.[58] The performer billed as "The Modern Milo" during this period specialized in recreating female sculptures, a Psyche in addition to her namesake Venus de Milo.[61]

Frederick Ashton choreographed a ballet Cupid and Psyche with track through Lord Berners and decor via Sir Francis Rose, first performed on 27 April 1939 by the Sadler's Wells Ballet (now Royal Ballet). Frank Staff danced as Cupid, Julia Farron as Psyche, Michael Somes as Pan, and June Brae as Venus.[62]

Modern Adaptations

Cupid and Psyche continues to be a source of inspiration for modern playwrights and composers. Notable diversifications include:

Psyche (symphonic poem) by César Franck (1888) [63] "Psyché:poème dramatique en trois actes," (play) by means of Gabriel Mourey, Paris, Mercure de France, 1913. "Syrinx" used to be composed by means of Claude Debussy as incidental music for the play.[64] Eros and Psyche (opera) with libretto by way of Jerzy Żuławski, composed via Ludomir Różycki (Wroclaw, Poland, 1917) [65] Psyche: An Opera in Three Acts (opera) in keeping with the novel Psyche by way of Louis Couperus, composed by means of Meta Overman (1955) [66][67] Metamorphoses (play) via Mary Zimmerman, adapted from the classic Ovid poem Metamorphoses, together with the delusion of Eros and Psyche (Northwestern University, 1996; Circle in the Square Theatre, Broadway, NYC 2002) The Golden Ass (play) by means of Peter Oswald, adapted from Apuleius, commissioned for Shakespeare's Globe (London, England 2002) [68] Cupid and Psyche (musical) by with ebook and lyrics by means of Sean Hartley and tune by way of Jihwan Kim (New York City, NY 2003).[69] Cupid and Psyche (verse drama) via Joseph Fisher (Stark Raving Theatre, Portland, OR 2002; Staged Reading: Oregon Shakespeare Festival, 2002) [70] Amor & Psyche (pastiche opera) organized by Alan Dornak (Opera Feroce, phase of Vertical Player Repertory, New York City, 2010) [71][72] Cupid and Psyche: An Internet Love Story (play) by Maria Hernandez, Emma Rosecan and Alexis Stickovitch (YouthPLAYS, 2012) [73] Psyche: A Modern Rock Opera (rock opera) through Cindy Shapiro (Greenway Court Theater, Los Angeles, CA, 2014) [74][75] Cupid and Psyche (verse drama) through Emily C. A. Snyder (Turn to Flesh Productions [TTF], New York City, NY, 2014).[76] As part of the Love and Death Trilogy (Staged Reading, TTF, New York City, NY 2018) [77] Amor and Psyche (In Times of Plagues) (Short movie) via VestAndPage (2020) [78]Psychology Psyche showing her Sisters her Gifts from Cupid, Painting via Jean-Honoré Fragonard

Viewed in terms of psychology reasonably than allegory, the tale of Cupid and Psyche shows how "a mutable person … matures within the social constructs of family and marriage".[79] In the Jungian allegory of Erich Neumann (1956), the story of Psyche used to be interpreted as "the psychic development of the feminine".[80]

Cupid and Psyche has been analyzed from a feminist point of view as a paradigm of how the gender unity of women is disintegrated through rivalry and envy, changing the bonds of sisterhood with a super of heterosexual love.[81] This theme was once explored in Psyche's Sisters: Reimagining the Meaning of Sisterhood (1988) by means of Christine Downing,[82] who uses fantasy as a medium for psychology.

James Hillman made the story the foundation for his critique of clinical psychology, The Myth of Analysis: Three Essays in Archetypal Psychology (1983). Carol Gilligan uses the story as the basis for far of her research of love and relationships in The Birth of Pleasure (Knopf, 2002).

Fine and decorative arts

The story of Cupid and Psyche is depicted in a variety of visual media. Psyche is ceaselessly represented with butterfly wings, and the butterfly is her frequent attribute and an emblem of the soul, although the literary Cupid and Psyche by no means says that she has or acquires wings. In antiquity, an iconographical custom existed independently of Apuleius's tale and influenced later depictions.[83]

Ancient art On this fragment from a sarcophagus used in the early 4th century, Cupid and a butterfly-winged Psyche body a portrait of the deceased, carried on an eagle with a cornucopia and spilling basket of fruit[84](Indianapolis Museum of Art) Eros and Psyche plaster medallion (1st century A.D.)[85] excavated in Begram, collections of National Museum of Afghanistan;[86] on showcase at British Museum, London.[87]

Some extant examples recommend that during antiquity Cupid and Psyche will have a non secular or mystical that means. Rings bearing their likeness, several of which come from Roman Britain, can have served an amuletic goal.[88]Engraved gemstones from Britain represent religious torment with the symbol of Cupid torching a butterfly.[89] The two also are depicted in high aid in industrially produced Roman domestic plaster wares from 1st-2nd centuries AD present in excavations at Greco-Bactrian merchant settlements on the historic Silk Road at Begram in Afghanistan[90] (see gallery underneath). The allegorical pairing depicts perfection of human love in integrated include of body and soul ('psyche' Greek for butterfly image for transcendent immortal life after demise). On sarcophagi, the couple often seem to constitute an allegory of love overcoming demise.[6]

A reduction of Cupid and Psyche was once displayed at the mithraeum of Capua, but it is unclear whether or not it expresses a Mithraic quest for salvation, or was once merely a subject matter that appealed to an individual for different reasons. Psyche is invoked with "Providence" (Pronoia) at the starting of the so-called Mithras Liturgy.[91]

In late antiquity, the couple are often proven in a "chin-chuck" embrace, a gesture of "erotic communion" with a protracted historical past.[92] The rediscovery of freestanding sculptures of the couple influenced several vital works of the fashionable technology.

Other depictions surviving from antiquity come with a Second-century papyrus representation perhaps of the tale,[93] and a ceiling fresco at Trier completed right through the reign of Constantine I.[6]

Modern era Cupid and Psyche (1867) by way of Alphonse Legros, criticized for rendering female nudity as "commonplace"

Works of artwork proliferated after the rediscovery of Apuleius's text, along with the affect of classical sculpture. In the mid-Fifteenth century, Cupid and Psyche turned into a popular topic for Italian wedding ceremony chests (cassoni),[94] in particular those of the Medici. The selection used to be perhaps brought on through Boccaccio's Christianized allegory. The earliest of these cassoni, dated variously to the years 1444–1470,[95] footage the narrative in two portions: from Psyche's conception to her abandonment via Cupid; and her wanderings and the satisfied ending.[96] With the wedding ceremony of Peleus and Thetis, the topic used to be the maximum common choice for specifying artwork of the Feast of the Gods, which were common from the Renaissance to Northern Mannerism.[97]

Cupid and Psyche is a rich source for eventualities, and a number of artists have produced cycles of works based on it, together with the frescoes at the Villa Farnesina (ca. 1518) by Raphael and his workshop; frescoes at Palazzo del Tè (1527–28) via Giulio Romano; engravings by means of the "Master of the Die" (mid-Sixteenth century); and artwork by the Pre-Raphaelite Edward Burne-Jones (in the 1870s–90s).[94] Burne-Jones also executed a chain of 47 drawings supposed as illustrations for Morris's poem.[98]Cupid and Psyche used to be the matter of the only cycle of prints created by means of the German Symbolist Max Klinger (1857–1920) to illustrate a selected story.[99]

The particular interest in the marriage ceremony as a topic in Northern Mannerism seems to spring from a large engraving of 1587 by Hendrik Goltzius in Haarlem of a drawing by way of Bartholomeus Spranger (now Rijksmuseum) that Karel van Mander had introduced again from Prague, the place Spranger was once courtroom painter to Rudolf II. The Feast of the Gods at the Marriage of Cupid and Psyche was once so huge, at 16 7/8 x 33 5/8 in. (43 x 85.4 cm), that it used to be printed from 3 different plates. Over Eighty figures are proven, positioned up in the clouds over an international landscape that may be glimpsed underneath. The composition borrows from each Raphael and Giulio Romano's variations.[100]

The hottest topics for single artwork or sculpture are the couple by myself, or explorations of the determine of Psyche, who's now and again depicted in compositions that recall the dozing Ariadne as she was discovered by means of Dionysus.[101] The use of nudity or sexuality in portraying Cupid and Psyche occasionally has angry contemporary sensibilities. In the 1840s, the National Academy of Art banned William Page's Cupid and Psyche, known as possibly "the most erotic painting in nineteenth-century America".[102] Classical subject material may well be offered in terms of reasonable nudity: in 1867, the feminine determine in the Cupid and Psyche of Alphonse Legros was criticized as a "commonplace naked young woman".[103] But all over the similar duration, Cupid and Psyche had been additionally portrayed chastely, as in the pastoral sculptures Psyche (1845) by Townsend and Cupid and Psyche (1846) via Thomas Uwins, which have been purchased by means of Queen Victoria and her consort Albert, differently keen creditors of nudes in the 1840s and 50s.[104]

Portrayals of Psyche alone are continuously not confined to illustrating a scene from Apuleius, but would possibly draw on the broader Platonic tradition in which Love used to be a power that shaped the self. The Psyche Abandoned of Jacques-Louis David, more than likely according to La Fontaine's model of the tale, depicts the second when Psyche, having violated the taboo of looking upon her lover, is abandoned alone on a rock, her nakedness expressing dispossession and the colour palette a psychological "divestment". The work has been observed as an "emotional proxy" for the artist's personal isolation and desperation all the way through his imprisonment, which resulted from his participation in the French Revolution and association with Robespierre.[105]

Sculpture

Cupid and Psyche (2nd century AD)

Cupid and Psyche (ca. One hundred fifty AD)

Psyche Revived by means of Cupid's Kiss (1793) by way of Antonio Canova

Amor (Cupid) kisses Psyche by Antonio Canova, Louvre

Cupid and Psyche by means of Clodion (d. 1814)

Psyche by way of Bertel Thorvaldsen (d. 1844)

[106]

Paintings

Amor and Psyche (1589) by Jacopo Zucchi

Landscape with Psyche Outside the Palace of Cupid (The Enchanted Castle) (1664) by Claude Lorrain

Amor and Psyche via Louis-Jean-François Lagrenée (d. 1805)

Allegory of Love, Cupid and Psyche via Goya (d. 1828)

Cupid and Psyche (1850–55) by means of Károly Brocky

Cupid and Psyche (1843) by means of Jean-Pierre Saint-Ours

Cupid and Psyche by way of Benjamin West PRA

Cupid and Psyche in the nuptial bower via Hugh Douglas Hamilton

The abduction of Psyche by way of William-Adolphe Bouguereau

Psyche Lifted Up by way of Zephyrs (Romantic, ca. 1800) by means of Pierre-Paul Prud'hon

Psyche Abandoned via François-Édouard Picot

Psyche (1890) by way of John Reinhard Weguelin

Psyche Opening the Golden Box (1903) by means of John William Waterhouse

Notes

^ Dorothy Johnson, David to Delacroix: The Rise of Romantic Mythology (University of North Carolina Press, 2011), pp. 81–87. ^ .mw-parser-output cite.quotationfont-style:inherit.mw-parser-output .quotation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .quotation .cs1-lock-free abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")appropriate 0.1em center/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .quotation .cs1-lock-registration abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em heart/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")correct 0.1em center/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground:linear-gradient(clear,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat.mw-parser-output code.cs1-codecolour:inherit;background:inherit;border:none;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintshow:none;colour:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .quotation .mw-selflinkfont-weight:inheritLewis, C. S. (1956). Till We Have Faces: A Myth Retold. Harcourt Brace Jovanovich. p. 311. ISBN 0156904365. ^ Stephen Harrison, entry on "Cupid," The Oxford Encyclopedia of Ancient Greece and Rome (Oxford University Press, 2010), p. 338. ^ Hendrik Wagenvoort, "Cupid and Psyche," reprinted in Pietas: Selected Studies in Roman Religion (Brill, 1980), pp. 84–92 on-line. ^ Harrison, "Cupid and Psyche," in Oxford Encyclopedia of Ancient Greece and Rome, p. 339. ^ a b c d Harrison, "Cupid and Psyche," Oxford Encyclopedia of Ancient Greece and Rome, p. 338. ^ Entry on "Apuleius," in The Classical Tradition (Harvard University Press, 2010), pp. 56–57. ^ E.J. Kenney, Apuleius: Cupid and Psyche (Cambridge University Press, 1990), pp. 22–23; Sophia Papaioannou, "Charite's Rape, Psyche on the Rock and the Parallel Function of Marriage in Apuleius' Metamorphoses," Mnemosyne 51.3 (1998) 302–324. ^ Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture (Cambridge University Press, 2010), p. 164. ^ The following summary is condensed from the translation of Kenney (Cambridge University Press, 1990), and the revised translation of W. Adlington by way of S. Gaseless for the Loeb Classical Library (Harvard University Press, 1915), with regards to the accompanying Latin text. ^ Papaioannou, "Charite's Rape, Psyche on the Rock," p. 319. ^ Max Nelson, "Narcissus: Myth and Magic," Classical Journal 95.4 (2000), p. 364, citing S. Lancel, "Curiositas et préoccupations spirituelles chez Apulée," Revue de l'histoire des religions 160 (1961), pp. 41–45. ^ By the Sixth-century mythographer Fulgentius; Joel C. Relihan, Apuleius: The Tale of Cupid and Psyche (Hackett, 2009), p. 65. ^ Cakes were often choices to the gods, particularly in Eleusinian faith; cakes of barley meal moistened with honey, known as prokonia (προκώνια), were introduced to Demeter and Kore at the time of first harvest. See Allaire Brumfield, "Cakes in the liknon: Votives from the Sanctuary of Demeter and Kore on Acrocorinth," Hesperia 66 (1997) 147–172. ^ Apuleius describes it as served in a cup, though ambrosia is generally considered a food and nectar as a drink. ^ Philip Hardie, Rumour and Renown: Representations of Fama in Western Literature (Cambridge University Press, 2012), p. 116; Papaioannou, "Charite's Rape, Psyche on the Rock," p. 321. ^ Relihan, The Tale of Cupid and Psyche, p. 79. ^ Stephen Harrison, "Divine Authority in 'Cupid and Psyche': Apuleius Metamorphoses 6,23–24," in Ancient Narrative: Authors, Authority, and Interpreters in the Ancient Novel. Essays in Honor of Gareth L. Schmeling (Barkhuis, 2006), p. 182. ^ Harrison, "Divine Authority in 'Cupid and Psyche'," p. 179. ^ a b Harrison, "Divine Authority in 'Cupid and Psyche'," p. 182. ^ Ariane van Suchtelen and Anne T. Woollett, Rubens and Brueghel: A Working Friendship (Getty Publications, 2006), p. 60; Susan Maxwell, The Court Art of Friedrich Sustris: Patronage in Late Renaissance Bavaria (Ashgate, 2011), pp. 172, 174. ^ Van Suchtelen and Woollett, Rubens and Brueghel, p. 60; Maxwell, The Court Art of Friedrich Sustris, p. 172. ^ Martha Hollander, An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art (University of California Press, 2002), pp. 11–12. ^ Michelle Facos, An Introduction to nineteenth Century Art (Routledge, 2011), p. 20. ^ Manuscript Vat. Lat. 2194, Biblioteca Apostolica Vaticana. ^ Danuta Shanzer, A Philosophical and Literary Commentary on Martianus Capella's De Nuptiis Philologiae et Mercurii Book 1 (University of California Press, 1986), p. 69. ^ Relihan, The Tale of Cupid and Psyche, p. 59. ^ Martianus Capella, De Nuptiis 7; Chance, Medieval Mythography, p. 271. ^ Patricia Cox Miller, "'The Little Blue Flower Is Red': Relics and the Poeticizing of the Body," Journal of Early Christian Studies 8.2 (2000), p. 229. ^ a b Entry on "Apuleius," Classical Tradition, p. 56. ^ Relihan, The Tale of Cupid and Psyche, p. 64. ^ Robert H.F. Carver, "The Rediscovery of the Latin Novels," in Latin Fiction: The Latin Novel in Context (Routledge, 1999), p. 257; Regine May, "The Prologue to Apuleius' Metamorphoses and Coluccio Salutati: MS Harley 4838," in Ancient Narrative. Lectiones Scrupulosae: Essays on the Text and Interpretation of Apuleius' Metamorphoses in Honour of Maaike Zimmerman (Barkhuis, 2006), p. 282. ^ Carver, "The Rediscovery of the Latin Novels," p. 259. ^ May, "The Prologue to Apuleius' Metamorphoses," pp. 282–284. ^ Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture (Cambridge University Press, 2010), pp. 11, 165. ^ a b Kingsley-Smith, Cupid in Early Modern Literature and Culture, p. 168. ^ Kingsley-Smith, Cupid in Early Modern Literature and Culture, pp. 163, 168. The fresco cycle, commissioned by Sir Thomas Smith, was once in keeping with engravings through the Master of the Die and Agostino Veneziano (1536), which had been taken from the work of Michiel Coxie that was once modeled on the Loggia di Psiche. ^ Kingsley-Smith, Cupid in Early Modern Literature and Culture, p. 173. ^ Kingsley-Smith, Cupid in Early Modern Literature and Culture, p. 176. ^ Ewa Lajer-Burchart, Necklines: The Art of Jacques-Louis David After the Terror (Yale University Press, 1999), pp. 278–279. ^ Kathleen Raine, Blake and Tradition (Routledge, 1969, 2002), vol. 1, p. 183. ^ a b c Entry on "Apuleius," Classical Tradition, p. 57. ^ Raine, Blake and Tradition, vol. 1, pp. 182–203, quoting Blake's notes on A Vision of the Last Judgment, and especially pp. 183, 191 and 201. ^ As described by a modern reviewer of the new paintings, quoted by Philippe Bordes, Jacques-Louis David: Empire to Exile (Yale University Press, 2005), p. 234. ^ Bordes, Jacques-Louis David, p. 232. ^ Wordsworth, William. "To A Butterfly". Bartleby.com. ^ Keats, John. "Ode To Psyche". Poetry Foundation. ^ J. Lawrence Mitchell, "Ray Garnett as Illustrator". Powys Review 10 (spring 1982), pp. 9–28. ^ Entry on "Apuleius," Classical Tradition, p. 57. ^ Raine, Blake and Tradition, vol. 1, p. 182. ^ Friedländer, Ludwig. Roman existence and manners under the early Empire. Vol. IV. London: Routledge. 1913. pp. 88-123. ^ Hurbánková, Šárka. (2018). "G. B. Basile and Apuleius: First literary tales. morphological analysis of three fairytales". In: Graeco-Latina Brunensia. 23: 75-93. 10.5817/GLB2018-2-6. ^ Harrison, "Cupid and Psyche," Oxford Encyclopedia of Ancient Greece and Rome, p. 339. ^ Amy Okay. Levin, The Suppressed Sister: A Relationship in Novels by Nineteenth- and Twentieth-Century British Women (Associated University Presses, 1992), pp. 23–24 et passim. ^ Entry on "Apuleius," Classical Tradition, p. 57. ^ Anita Callaway, Visual Ephemera: Theatrical Art in Nineteenth-Century Australia (University of New South Wales Press, 2000), p. 177. ^ Charles Musser, "Comparison and Judgment across Theater, Film, and the Visual Arts during the Late Nineteenth Century," in Moving Pictures: American Art and Early Film, 1880-1910 (Hudson Hills Press for Williams College Museum of Art, 2005), pp. 6–7; pp. 73–74. ^ a b Callaway, Visual Ephemera, p. 76. ^ Musser, "Comparison and Judgment across Theater, Film, and the Visual Arts," p. 7. ^ Callaway, Visual Ephemera, p. 217. ^ Callaway, Visual Ephemera, p. 70 ^ Arnold Haskell (ed) 'Gala Performance' (Collins 1955) p213. ^ Tommasini, Anthony (1997-10-05). "CLASSICAL MUSIC; Spelling Out The Musical Tale of 'Psyche'". The New York Times. ISSN 0362-4331. Retrieved 2019-12-06. ^ https://go.gale.com/ps/anonymous?id=GALE%7CA265977519&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=87568667&p=AONE&sw=w ^ Nine, Keris (2018-05-15). "OperaJournal: Różycki - Eros and Psyche (Warsaw, 2017)". OperaJournal. Retrieved 2019-12-06. ^ "Psyche - An opera in 3 acts by Meta Overman". www.fb.com. Retrieved 2019-12-06. ^ "Meta Overman's opera Psyche revived". Limelight. Retrieved 2019-12-06. ^ Guardian Staff (2002-07-31). "Something old, something new". The Guardian. ISSN 0261-3077. Retrieved 2019-12-06. ^ "Cupid and Psyche | TheaterMania". www.theatermania.com. Retrieved 2019-12-06. ^ "Cupid & Psyche by Joseph Fisher | Playscripts Inc". www.playscripts.com. Retrieved 2019-12-06. ^ Schweitzer, Vivien (2010-10-25). "Opera Feroce's 'Amor and Psyche,' a Variety Show". The New York Times. ISSN 0362-4331. Retrieved 2019-12-06. ^ "Repertoire". Opera Feroce. Retrieved 2019-12-06. ^ "Cupid and Psyche: An Internet Love Story by Maria Hernandez, Emma Rosecan, and Alexis Stickovitch". YouthPLAYS. Retrieved 2019-12-06. ^ Fresh, Opera (2014-09-03). "Opera Fresh: Rock Opera Offers New Telling Of The Psyche And Eros Story". Opera Fresh. Retrieved 2019-12-06. ^ "Psyche Rock Opera". psycherockopera. Retrieved 2019-12-06. ^ "Review: Cupid and Psyche". StageBuddy.com. 2014-03-06. Retrieved 2019-12-06. ^ Desk, BWW News. "Turn to Flesh Productions Celebrates Five Years". BroadwayWorld.com. Retrieved 2019-12-06. ^ "Review: Amor and Psyche". pixelsgarage.com. 2020-11-26. Retrieved 2020-11-27. ^ Relihan, The Tale of Cupid and Psyche, p. 76. ^ , access on "Apuleius," Classical Tradition, p. 56. ^ Amy K. Levin, The Suppressed Sister: A Relationship in Novels by means of Nineteenth- and Twentieth-Century British Women (Associated University Presses, 1992), p. 22. ^ Levin, The Suppressed Sister, p. 14. ^ Relihan, The Tale of Cupid and Psyche, p. xvii; Jean Sorabella, "A Roman Sarcophagus and Its Patron," Metropolitan Museum Journal 36 (2001), p. 73. ^ "Sarcophagus panel: Cupid and Psyche", Indianapolis Museum of Art description. Archived 2012-06-22 at the Wayback Machine The sarcophagus was once made for retail, and the portrait added later. ^ Kābul, Mūzah-ʼi (20 March 2018). "Afghanistan: Hidden Treasures from the National Museum, Kabul". National Geographic Books. Retrieved 20 March 2018 – by way of Google Books. ^ http://www.nationalgeographic.com/mission/afghanistan-treasures/ ^ "Looted Afghan treasures identified". impartial.co.uk. 1 March 2011. Retrieved 20 March 2018. ^ Jean Bagnall Smith, "Votive Objects and Objects of Votive Significance from Great Walsingham," Britannia 30 (1999), p. 36. ^ Dominic Perring, "'Gnosticism' in Fourth-Century Britain: The Frampton Mosaics Reconsidered," Britannia 34 (2003), p. 119, mentioning also M. Henig, "Death and the Maiden: Funerary Symbolism in Daily Life," in Roman Life and Art in Britain, British Archaeological Reports 41 (Oxford, 1977). ^ "Audio slide show, online at "Hidden Treasures of Afghanistan," website hosted by National Geographic for US venue of travelling exhibit". Nationalgeographic.com. 2002-10-17. Retrieved 2013-10-06. ^ R.L. Gordon, "Franz Cumont and the Doctrines of Mithraism," in Mithraic Studies (Manchester University Press, 1975), p. 239. ^ Leo Steinberg, The Sexuality of Christ in Renaissance Art and in Modern Oblivion (University of Chicago Press, 1983, Second ed. 1996), p. 5. ^ Gaisser, The Fortunes of Apuleius and The Golden Ass, p. 20. ^ a b Entry on "Apuleius," Classical Tradition, p. 57. ^ According to Maria Grazia Pernis and Laurie Schneider Adams, Lucrezia Tornabuoni De' Medici and the Medici Family in the Fifteenth Century (Peter Lang, 2006), p. 24, the Medici family commissioned a pair illustrating the story for the wedding of Lucrezia Tornabuoni and Piero di Cosimo de' Medici in 1444, owing perhaps to the attraction of Boccaccio's allegory to the highbrow but religious Piero. Other scholars hold the same view, however 1470 is perhaps the more extensively permitted date. See Julia Haig Gaisser, The Fortunes of Apuleius and The Golden Ass: A Study in Transmission and Reception (Princeton University Press, 2008), p. 119, especially observe 193 for further assets. In that case, the chests have been created for the marriage ceremony of Lorenzo de' Medici, Piero's son, and Clarice Orsini. ^ Gaisser, The Fortunes of Apuleius, p. 119. ^ Bull, pp. 342-343 ^ Vera Schuster, "The Pre-Raphaelites in Oxford," Oxford Art Journal 1 (1978), p. 7. ^ J. Kirk T. Varnedoe with Elizabeth Streicher, Graphic Works of Max Klinger (Dover, 1977), p. 78. ^ The engraving at the Metropolitan Museum of Art; at the British Museum, in sections; Bull, 342–343 ^ Marion Lawrence, "Ships, Monsters and Jonah," American Journal of Archaeology 66.3 (1962), p. 290. ^ John D'Emilio and Estelle B. Freedman, Intimate Matters: A History of Sexuality in America (University of Chicago Press, 1988, 1997), 2d ed., pp. 108, 148. ^ Alison Smith, The Victorian Nude: Sexuality, Morality, and Art (Manchester University Press, 1996), p. 120. ^ Smith, The Victorian Nude, pp. 71–72. ^ Ewa Lajer-Burchart, Necklines: The Art of Jacques-Louis David After the Terror (Yale University Press, 1999), p. 54ff., particularly p. 61. ^ ", Eros and Psyche 1st century BCE from Pella,..." museumofclassicalantiquities. Retrieved 20 March 2018.

References

Malcolm Bull, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, pp. 342–343, Oxford UP, 2005, ISBN 978-0195219234 Anita Callaway, Visual Ephemera: Theatrical Art in Nineteenth-Century Australia (University of New South Wales Press, 2000) Stephen Harrison, "Divine Authority in 'Cupid and Psyche': Apuleius Metamorphoses 6,23–24," in Ancient Narrative: Authors, Authority, and Interpreters in the Ancient Novel. Essays in Honor of Gareth L. Schmeling (Barkhuis, 2006)

Further studying

Belmont, Nicole. "La Tâche De Psyché." Ethnologie Française 21, no. 4 (1991): 386-91. Accessed June 13, 2020. www.jstor.org/strong/40989292. Benson, Geoffrey C. "Cupid and Psyche and the Illumination of the Unseen." In Re-Wiring The Ancient Novel, 2 Volume Set: Volume 1: Greek Novels, Volume 2: Roman Novels and Other Important Texts, edited by means of Cueva Edmund, Harrison Stephen, Mason Hugh, Owens William, and Schwartz Saundra, 85-116. Luxembourg: Barkhuis, 2018. www.jstor.org/strong/j.ctvggx289.30. Bonilla y San Martin, Adolfo. El mito de Psyquis: un cuento de niños, una tradición simbólica y un estudio sobre el problema elementary de la filosofía. Barcelona: Imprenta de Henrich y Cia. 1908. Bottigheimer, Ruth B. "CUPID AND PSYCHE vs. BEAUTY AND THE BEAST: THE MILESIAN AND THE MODERN." Merveilles & Contes 3, no. 1 (1989): 4-14. www.jstor.org/stable/41389987. Edwards, M. J. "The Tale of Cupid and Psyche." Zeitschrift Für Papyrologie Und Epigraphik 94 (1992): 77-94. www.jstor.org/stable/20188784. Felton, D. "Apuleius' Cupid Considered as a Lamia (Metamorphoses 5.17-18)." Illinois Classical Studies, no. 38 (2013): 229-44. doi:10.5406/illiclasstud.38.0229. Gaisser, Julia. (2017). Cupid and Psyche. In: A Handbook to the Reception of Classical Mythology, pp. 337–351. 10.1002/9781119072034.ch23. Hood, Gwenyth. "Husbands and Gods as Shadowbrutes: Beauty and the Beast from Apuleius to C. S. Lewis." Mythlore 56 Winter (1988): pp. 33–60. Hurbánková, Šárka. (2018). G.B. Basile and Apuleius: First literary tales. morphological analysis of three fairytales. In: Graeco-Latina Brunensia. 23. pp. 75–93. 10.5817/GLB2018-2-6. Jacobs, Joseph. European Folk and Fairy Tales. New York, London: G. P. Putnam's sons. 1916. pp. 246–249. E. J. Kenney (Ed.), Apuleius. Cupid and Psyche -Cambridge Greek and Latin Classics. Cambridge University Press. 1990. ISBN 0-521-26038-8 MORWOOD, JAMES. "CUPID GROWS UP." Greece & Rome, Second Series, 57, no. 1 (2010): 107-16. Accessed May 12, 2020. www.jstor.org/strong/40929430. Plantade, Emmanuel et Nedjima. «Du conte berbère au mythe grec: le cas d'Éros et Psyché». In: Revue des Études Berbères no 9,‎ 2013, pp. 533-563. Purser, Louis Claude. The Story of Cupid and Psyche as similar by way of Apuleius. London: George Bell and Sons. 1910. pp. xlvii-li. Reider, Noriko T. "A Demon in the Sky: The Tale of Amewakahiko, a Japanese Medieval Story." Marvels & Tales 29, no. 2 (2015): 265-82. doi:10.13110/marvelstales.29.2.0265. Swahn, Jan-Ojvind. The Tale of Cupid and Psyche. Lund, C. W. Κ. Gleerup, s. d. (1955). Vertova, Luisa. "Cupid and Psyche in Renaissance Painting before Raphael." Journal of the Warburg and Courtauld Institutes 42 (1979): 104-21. Accessed May 12, 2020. doi:10.2307/751087. Wright, James R. G. "Folk-Tale and Literary Technique in Cupid and Psyche." The Classical Quarterly 21, no. 1 (1971): 273-84. www.jstor.org/strong/637841. Zimmermann, Martin et al. (Ed.). Aspects of Apuleius' Golden Ass. Volume II. Cupid and Psyche. Groningen, Egbert Forsten. 1998. ISBN 90-6980-121-3.

External links

Wikisource has unique text associated with this article: Cupid and Psyche Wikimedia Commons has media associated with Cupid and Psyche.Tales Similar to Beauty and the Beast (Texts of Cupid and Psyche and similar monster or beast as bridegroom stories, most commonly of AT-425C shape, with hyperlinked statement). Robert Bridge's Eros and Psyche at archive.org: pdf or read on-line Mary Tighe, Psyche or, the Legend of Love (1820) HTML or PDF Cupid and Psyche. A poem via Letitia Elizabeth Landon from The Literary Souvenir, 1827. Walter Pater, Marius the Epicurean, bankruptcy 5 (1885) Gutenberg Project: Walter Pater, Marius the Epicurean, Vol. 1 (Plain text.) Blackmask: Walter Pater, Marius the Epicurean: bankruptcy 5 Victorian Prose: Walter Pater, Marius the Epicurean, Vol. 1 (PDF) The Baldwin Project: The Enchanted Palace and The Trial of Psyche Thomas Bulfinch, The Age of Fable (1913) Folktexts: Cupid and Psyche by way of D. L. Ashliman Hermetic Philosophy: Cupid and Psyche (Illustrated with portray and sculpture.) [1] Cupid and Psyche ~ A New Play in Blank Verse" [2] Turn to Flesh Productions The Labors of Psyche: Toward a Theory of Female Heroism via Lee R. Edwards Art Art Renewal Center: "Cupid & Psyche" through Sharrell E. Gibson (Examples and dialogue of Cupid and Psyche in painting.) Warburg Institute Iconographic Database (ca 430 pictures of Cupid and Psyche) Tale of Cupid and Psyche engravings by means of Maestro del Dado and Agostino Veneziano from the De Verda assortmentAuthority keep an eye on GND: 118907085 LCCN: sh85034826 VIAF: 50024221 WorldCat Identities: viaf-50024221 Retrieved from "https://en.wikipedia.org/w/index.php?title=Cupid_and_Psyche&oldid=1016228125"