Cupid & Psyche Alabaster Statue God Eros Nude LOVE & SOUL Sculpture Erotic Art

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Caldwell, Richard, Hesiod's Theogony, Focus Publishing/R. Pullins Company (June 1, 1987). ISBN 978-0-941051-00-2. Cupid and Psyche ( verse drama) by Emily C. A. Snyder ( Turn to Flesh Productions [TTF], New York City, NY, 2014). [92] As part of the Love and Death Trilogy (Staged Reading, TTF, New York City, NY 2018) [93] Benson, Geoffrey C. (2018). "Cupid and Psyche and the Illumination of the Unseen". In Cueva, Edmund; Harrison, Stephen; Mason, Hugh; Owens, William; Schwartz, Saundra (eds.). Re-Wiring The Ancient Novel, 2 Volume set: Volume 1: Greek Novels, Volume 2: Roman Novels and Other Important Texts. Vol.24. Barkhuis. pp.85–116. ISBN 978-94-92444-56-1. JSTOR j.ctvggx289.30. Psyche: An Opera in Three Acts (opera) based on the novel Psyche by Louis Couperus, composed by Meta Overman (1955) [82] [83]

Nonnus, Dionysiaca; translated by Rouse, W H D, I Books I-XV. Loeb Classical Library No. 344, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1940. Internet Archive The sculpture Psyche Revived by Cupid’s Kiss by Antonio Canova is a three-dimensional form because it can be walked around and observed from all directions. The form is described in terms of height, width, and depth, which contrasts with shapes, which are described as two-dimensional with only width and height. Cupid and Psyche continues to be a source of inspiration for modern playwrights and composers. Notable adaptations include:At dawn, Venus sets a second task for Psyche. She is to cross a river and fetch golden wool from violent sheep who graze on the other side. These sheep are elsewhere identified as belonging to Helios. [14] Psyche's only intention is to drown herself on the way, but instead she is saved by instructions from a divinely inspired reed, of the type used to make musical instruments, and gathers the wool caught on briers. Mikalson, Jon D. (2015). The Sacred and Civil Calendar of the Athenian Year. Princeton University Press. p.186. ISBN 9781400870325.

Edwards, M. J. (1992). "The Tale of Cupid and Psyche". Zeitschrift für Papyrologie und Epigraphik. 94: 77–94. JSTOR 20188784. When Psyche looked inside the flask to use the ointment, she fell into a deep sleep. She was eventually saved by Cupid who removed the sleep from her eyes and woke her with a poke of an arrow. She was roused to life again and the loving couple were married. Texture Example in Psyche Revived by Cupid’s Kiss (1787 – 1793) by Antonio Canova; Antonio Canova, CC0, via Wikimedia CommonsCharles 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. Psychology [ edit ] Psyche showing her Sisters her Gifts from Cupid, Painting by Jean-Honoré Fragonard Texture plays a large role in any marble sculpture, and this Cupid and Psyche statue by Antonio Canova eloquently and skilfully left us, the viewers, with the impression of soft and hard contrasts. Canova was reportedly well-known for his methods of smoothing, polishing, and refining his marble sculptures, which would be based on his preparatory clay models. For example, notice the soft folds of the fabric draped over Psyche, or the softer, and finer, curls of Psyche and Cupid’s hair, including Cupid’s feathered wings. The story of Cupid and Psyche was known to Boccaccio in c. 1370, but the editio princeps dates to 1469. Ever since, the 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 even wallpaper. [5] Though Psyche is usually referred to in Roman mythology by her Greek name, her Roman name through direct translation is Anima. Once, when Venus’ son [Eros] was kissing her, his quiver dangling down, a jutting arrow, unbeknown, had grazed her breast. She pushed the boy away. In fact the wound was deeper than it seemed, though unperceived at first. [And she became] enraptured by the beauty of a man [ Adonis].” ( Metamorphoses) [25]

Leo Steinberg, The Sexuality of Christ in Renaissance Art and in Modern Oblivion (University of Chicago Press, 1983, 2nd ed. 1996), p. 5. First of all the gods she devised Erōs." (Parmenides, fragment 13.) (The identity of the "she" is unclear, as Parmenides' work has survived only in fragments. One of the most popular images from the tale was Psyche's discovery of a naked Cupid sleeping, found in ceramics, stained glass, and frescos. Mannerist painters were intensely drawn to the scene. [38] In England, the Cupid and Psyche theme had its "most lustrous period" from 1566 to 1635, beginning with the first English translation by William Adlington. A fresco cycle for Hill Hall, Essex, was modeled indirectly after that of the Villa Farnesina around 1570, [39] and Thomas Heywood's masque Love's Mistress dramatized the tale to celebrate the wedding of Charles I and Henrietta Maria, who later had her withdrawing chamber decorated with a 22-painting Cupid and Psyche cycle by Jacob Jordaens. The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was a vehicle for the Neoplatonism the queen brought with her from France. [40] The Cupid and Psyche produced by Orazio Gentileschi for the royal couple shows a fully robed Psyche whose compelling interest is psychological, while Cupid is mostly nude. [41] Orazio Gentileschi exposed the erotic vulnerability of the male figure in his Cupid and Psyche (1628–30) A relief of Cupid and Psyche was displayed at the mithraeum of Capua, but it is unclear whether it expresses a Mithraic quest for salvation, or was simply a subject that appealed to an individual for other reasons. Psyche is invoked with "Providence" (Pronoia) at the beginning of the so-called Mithras Liturgy. [108] Eros, the alleged son of Aphrodite, is most commonly known for his Latin name: Cupid. He could stir desire into the hearts of anyone he pleased with a simple draw and release of his enchanted arrow. The story of Eros and Psyche is one of the most famed in its depiction of love and adventure.

Psyche

Wright, James R. G. (1971). "Folk-Tale and Literary Technique in Cupid and Psyche". The Classical Quarterly. 21 (1): 273–284. doi: 10.1017/S0009838800029013. JSTOR 637841. S2CID 170565870.

In Greek mythology, Psyche was the deification of the human soul. She was portrayed in ancient mosaics as a goddess with butterfly wings (because psyche was also the Ancient Greek word for "butterfly"). The Greek word psyche literally means "soul, spirit, breath, life, or animating force". Folklore scholarship has also occupied itself with the possible origin of the narrative. [52] [53] Swedish folklorist Jan-Öjvind Swahn [ sv], who authored a long study on the story, and German philologist Ludwig Friedländer defended the idea that it originated from a legitimate folklore source. [54] [55] In another myth, Eros and Aphrodite played in a meadow, and had a light competition about which would gather the most flowers. Eros was in the lead thanks to his swift wings, but then a nymph named Peristera ("dove") gathered some flowers herself and handed them over to Aphrodite, making her victorious. Eros turned Peristera into a dove. [33]

Greek Ideas for Love

Morwood, James (2010). "Cupid Grows Up". Greece & Rome. 57 (1): 107–116. doi: 10.1017/S0017383509990301. JSTOR 40929430. S2CID 162521335. The tale of Cupid and Psyche (or "Eros and Psyche") is placed at the midpoint of Apuleius's novel, and occupies about a fifth of its total length. [6] The novel itself is a first-person narrative by the protagonist Lucius. Transformed into a donkey by magic gone wrong, Lucius undergoes various trials and adventures, and finally regains human form by eating roses sacred to Isis. Psyche's story has some similarities, including the theme of dangerous curiosity, punishments and tests, and redemption through divine favor. [7] Psyché:poème dramatique en trois actes," (play) by Gabriel Mourey, Paris, Mercure de France, 1913. "Syrinx" was composed by Claude Debussy as incidental music for the play. [80] Hurbánková, Šárka (2018). "G.B. Basile and Apuleius: first literary tales: morphological analysis of three fairytales". Graeco-Latina Brunensia (2): 75–93. doi: 10.5817/GLB2018-2-6.