Cupid and Psyche (1817) by Jacques-Louis David; Cleveland Museum of Art, CC0, via Wikimedia Commons Megas, G. 1967. Das Märchen von Amor und Psyche in der griechischen Volksüberlieferung (AaTh 425, 428 & 432). Athens Everything comes to pass according to plan, and Proserpina grants Psyche's humble entreaty. As soon as she reenters the light of day, however, Psyche is overcome by a bold curiosity, and can't resist opening the box in the hope of enhancing her own beauty. She finds nothing inside but an "infernal and Stygian sleep", which sends her into a deep and unmoving torpor. Psyche Revived by Cupid’s Kiss (1787 – 1793) by Antonio Canova; Antonio Canova, CC0, via Wikimedia Commons Pontianus of Nicomedia, a character in Deipnosophistae by Athenaeus, asserts that Zeno of Citium thought that Eros was the god of friendship and liberty. [12] [13]

Amy K. Levin, The Suppressed Sister: A Relationship in Novels by Nineteenth- and Twentieth-Century British Women (Associated University Presses, 1992), p. 22. 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.The Wedding of Cupid and Psyche [ edit ] The Wedding Banquet of Cupid and Psyche (1517) by Raphael and his workshop, from the Loggia di Psiche, Villa Farnesina Godefroy Engelmann after Raphael, Marriage of Cupid and Psyche, 1825, lithograph Relihan, The Tale of Cupid and Psyche, p. xvii; Jean Sorabella, "A Roman Sarcophagus and Its Patron," Metropolitan Museum Journal 36 (2001), p. 73. Psyche's first weeks within the palace were filled with pleasures, and although she feared him at first, she eventually came to fall in love with the invisible man. During the day, however, she became lonely, only looking forward to nighttime when her husband would visit. Eventually she asked to see her sisters who, in her absence, had assumed her death and had been in mourning. Eros eventually gave her permission to invite her family to the palace, instructing Zephyrus to carry the sisters to the palace where they would be reunited. Jacobs, Joseph. European Folk and Fairy Tales. New York, London: G. P. Putnam's sons. 1916. pp.246–249.

Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture (Cambridge University Press, 2010), p. 164. Hood, Gwenyth. “Husbands and Gods as Shadowbrutes: Beauty and the Beast from Apuleius to C. S. Lewis”. In: Mythlore 56 Winter (1988): pp.33–60. Anita Callaway, Visual Ephemera: Theatrical Art in Nineteenth-Century Australia (University of New South Wales Press, 2000) Youens, Susan (June 22, 2004). Hugo Wolf and his Mörike Songs. United Kingdom, United States: Cambridge University Press. ISBN 0-511-03282-X. 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.Although the tale resists explication as a strict allegory of a particular Platonic argument, Apuleius drew generally on imagery such as the laborious ascent of the winged soul ( Phaedrus 248) and the union with the divine achieved by Soul through the agency of the daimon Love ( Symposium 212b). [10] Story [ edit ] Psyche's Wedding ( Pre-Raphaelite, 1895) by Edward Burne-Jones These contrast with the harder appearance of the jar/flask behind Psyche as well as the coarser texture of the slab of marble upon which the two are created. Erxias (Ἐρξίας) wrote that the Samians consecrated a gymnasium to Eros. The festival instituted in his honour was called the Eleutheria (Ἐλευθέρια), meaning "liberty". [12] [13]