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The story of Cupid and Psyche appears in [[ancient Greek art|Greek art]] as early as the 4th century BC, but the most extended literary source of the tale is the Latin novel ''Metamorphoses'', also known as ''[[The Golden Ass]]'', by [[Apuleius]] (2nd century AD). It concerns the overcoming of obstacles to the love between Psyche ("Soul" or "Breath of Life") and Cupid, and their ultimate union in marriage. |
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The story of Cupid and Psyche appears in [[ancient Greek art|Greek art]] as early as the 4th century BC, but the most extended literary source of the tale is the Latin novel ''Metamorphoses'', also known as ''[[The Golden Ass]]'', by [[Apuleius]] (2nd century AD). It concerns the overcoming of obstacles to the love between Psyche ("Soul" or "Breath of Life") and Cupid, and their ultimate union in marriage. |
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The fame of Psyche's beauty threatens to eclipse that of Venus herself, and the love goddess sends Cupid to work her revenge. Cupid, however, becomes enamored of Psyche, and arranges for her to be taken to his palace. He visits her by night, warning her not to try to look upon him. Psyche's envious sisters convince her that her lover must be a hideous monster, and she finally introduces a lamp into their chamber to see him. Startled by his beauty, she drips hot oil from the lamp and wakes him. He abandons her. She wanders the earth looking for him, and finally submits to the service of Venus, who tortures her. The goddess then sends Psyche on a series of quests. Each time she despairs, and each time she is given divine aid. On her final task, she is to retrieve a dose of [[Proserpina]]'s beauty from the underworld. She succeeds, but on the way back can't resist opening the box in the hope of benefitting from it herself, whereupon she falls into a torpid sleep. Cupid finds her in this state, and revives her by returning the sleep to the box. Cupid grants her immortality so the couple can be wed as equals. |
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The fame of Psyche's beauty threatens to eclipse that of Venus herself, and the love goddess sends Cupid to work her revenge. Cupid, however, becomes enamored of Psyche, and arranges for her to be taken to his palace. He visits her by night, warning her not to try to look upon him. Psyche's envious sisters convince her that her lover must be a hideous monster, and she finally introduces a lamp into their chamber to see him. Startled by his beauty, she drips hot oil from the lamp and wakes him. He abandons her. She wanders the earth looking for him, and finally submits to the service of Venus, who tortures her. The goddess then sends Psyche on a series of quests. Each time she despairs, and each time she is given divine aid. On her final task, she is to retrieve a dose of [[Proserpina]]'s beauty from the underworld. She succeeds, but on the way back can't resist opening the box in the hope of benefitting from it herself, whereupon she falls into a torpid sleep. Cupid finds her in this state, and revives her by returning the sleep to the box. Cupid grants her immortality so the couple can be wed as equals.meow |
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The story's [[Neoplatonic]] elements and allusions to [[mystery religions]] accommodate multiple interpretations,<ref>Stephen Harrison, entry on "Cupid," ''The Oxford Encyclopedia of Ancient Greece and Rome'' (Oxford University Press, 2010), p. 338.</ref> and it has been analyzed as an [[allegory]] and in light of [[folklore|folktale]], [[Fairy tale#Terminology|Märchen]] or [[fairy tale]], and [[myth]].<ref>[[Hendrik Wagenvoort]], "Cupid and Psyche," reprinted in ''Pietas: Selected Studies in Roman Religion'' (Brill, 1980), pp. 84–92.</ref> Often presented as an allegory of love overcoming death, the story was a frequent source of imagery for [[Roman sarcophagi]] and other extant art of antiquity. Since the rediscovery of Apuleius's novel in the [[Renaissance]], the [[reception theory|reception]] of ''Cupid and Psyche'' in the [[classical tradition]] has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and various media.<ref>Harrison, "Cupid and Psyche," in ''Oxford Encyclopedia of Ancient Greece and Rome'', p. 339.</ref> |
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The story's [[Neoplatonic]] elements and allusions to [[mystery religions]] accommodate multiple interpretations,<ref>Stephen Harrison, entry on "Cupid," ''The Oxford Encyclopedia of Ancient Greece and Rome'' (Oxford University Press, 2010), p. 338.</ref> and it has been analyzed as an [[allegory]] and in light of [[folklore|folktale]], [[Fairy tale#Terminology|Märchen]] or [[fairy tale]], and [[myth]].<ref>[[Hendrik Wagenvoort]], "Cupid and Psyche," reprinted in ''Pietas: Selected Studies in Roman Religion'' (Brill, 1980), pp. 84–92.</ref> Often presented as an allegory of love overcoming death, the story was a frequent source of imagery for [[Roman sarcophagi]] and other extant art of antiquity. Since the rediscovery of Apuleius's novel in the [[Renaissance]], the [[reception theory|reception]] of ''Cupid and Psyche'' in the [[classical tradition]] has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and various media.<ref>Harrison, "Cupid and Psyche," in ''Oxford Encyclopedia of Ancient Greece and Rome'', p. 339.</ref> |
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