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Wagenvoort, H. Pietas: Selected Studies in Roman Religion. Leiden: E. J. Brill, 1980. p. 86. ISBN 90-04-06195-9.
Once again despairing of her task, Psyche climbs a tower, planning to throw herself off. The tower, however, suddenly breaks into speech, and advises her to travel to Lacedaemon, Greece, and to seek out the place called Taenarus, where she will find the entrance to the underworld. The tower offers instructions for navigating the underworld: Malcolm Bull, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, pp.342–343, Oxford UP, 2005, ISBN 978-0195219234 Psyche Receiving Cupid’s First Kiss (1798) by François Gérard; François Gérard, Public domain, via Wikimedia Commons Hesiod, Theogony 116–122 states that Gaia, Tartarus and Eros come after Chaos, but this does not necessarily mean that they are the offspring of Chaos. Gantz, pp. 4–5 writes that, "[w]ith regard to all three of these figures—Gaia, Tartaros, and Eros—we should note that Hesiod does not say they arose from (as opposed to after) Chaos, although this is often assumed". Hard 2004, p. 23 says that "[a]lthough it is quite often assumed that all three are born out of Chaos as her offspring, this is not stated by Hesiod nor indeed implied, governed by the same verb geneto ('came to be'). Gaia, Tartaros and Eros are best regarded as being primal realities like Chaos that came into existence independently of her". Similarly, Caldwell, pp. 3, 35 says that the Theogony "begins with the spontaneous appearance of Chaos, Gaia, Tartaros, and Eros (116–122). By their emergence from nothing, without sources or parents, these four are separated from everything that follows."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.
The tale thus lent itself to adaptation in a Christian or mystical context, often as symbolic of the soul. [30] In the Gnostic text On the Origin of the World, the first rose is created from the blood of Psyche when she loses her virginity to Cupid. [31] To the Christian mythographer Fulgentius (6th century), Psyche was an Adam figure, driven by sinful curiosity and lust from the paradise of Love's domain. [32] Psyche's sisters are Flesh and Free Will, and her parents are God and Matter. [33] To Boccaccio (14th century), the marriage of Cupid and Psyche symbolized the union of soul and God. [32] 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.Nous possêdons encore, dans l'histoire de Psyche, inserée par Apulee dans son roman des Metamorphoses, un vrai conte populaire de l'antiquité ...". Huet, Gedeon Busken. Contes populaires. Paris: E. Flammarion, 1923. p. 43. Furthermore, the Cupid and Psyche statue appears as an organic or naturalistic form, which is based on real life and the patterns on the jar/flask and Cupid’s quiver appear floral in their shapes. Art Renewal Center: "Cupid & Psyche" by Sharrell E. Gibson (Examples and discussion of Cupid and Psyche in painting.) 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). [2] The tale concerns the overcoming of obstacles to the love between Psyche ( / ˈ s aɪ k iː/; Ancient Greek: Ψυχή, lit.'Soul' or 'Breath of Life', Greek pronunciation: [psyːkʰɛ̌ː]) and Cupid ( Latin: Cupido, lit.'Desire', Latin pronunciation: [kʊˈpiːd̪oː]) or Amor ( lit. 'Love', Greek Eros, Ἔρως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius from 2nd century AD, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, [3] and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth. [4] Caldwell, Richard, Hesiod's Theogony, Focus Publishing/R. Pullins Company (June 1, 1987). ISBN 978-0-941051-00-2.
Wagenvoort, H. (1980). "Cupid and Psyche". Pietas. pp.84–92. doi: 10.1163/9789004296688_007. ISBN 9789004296688. James Hillman made the story the basis for his critique of scientific psychology, The Myth of Analysis: Three Essays in Archetypal Psychology (1983). Carol Gilligan uses the story as the basis for much of her analysis of love and relationships in The Birth of Pleasure (Knopf, 2002). When Psyche was about to be taken to her new husband, she was transported to a beautiful palatial place where she and Cupid spent their nights together, however, Psyche could not look at him. She started doubting who he was – maybe he was the dragon after all – and she attempted to kill him, as advised by her sisters’ speculation about who he was. The Greek ἔρως, meaning 'desire', comes from ἔραμαι 'to desire, love', of uncertain etymology. R. S. P. Beekes has suggested a Pre-Greek origin. [7] Cult and depiction [ edit ]Harrison, Stephen (2006). "Divine Authority in 'Cupid and Psyche': Apuleius Metamorphoses 6,23–24". In Schmeling, Gareth L. (ed.). Authors, Authority and Interpreters in the Ancient Novel: Essays in Honor of Gareth L. Schmeling. Barkhuis. pp.172–185. ISBN 978-90-77922-13-2. The Greek Anthology. with an English Translation by. W. R. Paton. London. William Heinemann Ltd. 1916. 1. Full text available at topostext.org. Alicia has been working for artincontext.com since 2021 as an author and art history expert. She has specialized in painting analysis and is covering most of our painting analysis. Eros and Psyche 1st century BCE from Pella,..." museumofclassicalantiquities . Retrieved 20 March 2018. Aristophanes, Aristophanes Comoediae edited by F.W. Hall and W.M. Geldart, vol. 2. F.W. Hall and W.M. Geldart. Oxford. Clarendon Press, Oxford. 1907. Greek text available at the Perseus Digital Library.
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