The Philosophical Satire of Apuleius' Cupid and Psyche: Alignment and Contradiction in Allusions to Plato and Lucretius
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Apuleius's Story of Cupid and Psyche and the Roman Law of Marriage" Transactions of the American Philological Association (1974-), Vol
Georgetown University Institutional Repository http://www.library.georgetown.edu/digitalgeorgetown The author made this article openly available online. Please tell us how this access affects you. Your story matters. OSGOOD, J. "Nuptiae Iure Civili Congruae: Apuleius's Story of Cupid and Psyche and the Roman Law of Marriage" Transactions of the American Philological Association (1974-), Vol. 136, No. 2 (Autumn, 2006), pp. 415-441 Collection Permanent Link: http://hdl.handle.net/10822/555440 © 2006 The John Hopkins University Press This material is made available online with the permission of the author, and in accordance with publisher policies. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. Transactionsof the American Philological Association 136 (2006) 415-441 Nuptiae lure Civili Congruae: Apuleius'sStory of Cupid and Psyche and the Roman Lawof Marriage JOSIAH OSGOOD GeorgetownUniversity SUMMARY: Socialhistorians, despite showing greatinterest in Apuleius'sMeta- morphoses,have tended to ignorethe novel'sembedded tale of Cupidand Psycheon the groundsthat it is purelyimaginary. This paperdemonstrates that Apuleiusin fact refersthroughout his story to realRoman practices, especially legal practices-most conspicuousare the frequentreferences to the Romanlaw of marriage.A carefulexamination of severalpassages thus shows how knowl- edge of Romanlaw, it turns out, enhancesthe reader'spleasure in Apuleius's story.The paperconcludes by exploringthe connectionsbetween Apuleius's fairytaleand the accountof his own marriageto AemiliaPudentilla in his ear- lier work,the Apologia.Apuleius seems to be recalling,playfully, his own earlier legal success.At the same time, both works suggestthat legal problemsarose in Romanfamilies not becauseof the actions of any officialenforcers, but rather appealto the law by particularfamily members. -
A Study of the Cupid and Psyche Myth, with Particular Reference to C.S
Inklings Forever Volume 7 A Collection of Essays Presented at the Seventh Frances White Ewbank Colloquium on C.S. Article 21 Lewis & Friends 6-3-2010 Tale as Old as Time: A Study of the Cupid and Psyche Myth, with Particular Reference to C.S. Lewis's Till We Have Faces John Stanifer Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Stanifer, John (2010) "Tale as Old as Time: A Study of the Cupid and Psyche Myth, with Particular Reference to C.S. Lewis's Till We Have Faces," Inklings Forever: Vol. 7 , Article 21. Available at: https://pillars.taylor.edu/inklings_forever/vol7/iss1/21 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. Tale as Old as Time: A Study of the Cupid and Psyche Myth, with Particular Reference to C.S. Lewis's Till We Have Faces Cover Page Footnote This essay is available in Inklings Forever: https://pillars.taylor.edu/inklings_forever/vol7/iss1/21 INKLINGS FOREVER, Volume VII A Collection of Essays Presented at the Seventh FRANCES WHITE COLLOQUIUM on C.S. LEWIS & FRIENDS Taylor University 2010 Upland, Indiana Tale as Old as Time A Study of the Cupid & Psyche Myth, with Particular Reference to C.S. -
Metamorphosis of Love: Eros As Agent in Revolutionary and Post-Revolutionary France" (2017)
University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2017 Metamorphosis of Love: Eros as Agent in Revolutionary and Post- Revolutionary France Jennifer N. Laffick University of Central Florida Part of the History of Art, Architecture, and Archaeology Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Laffick, Jennifer N., "Metamorphosis of Love: Eros as Agent in Revolutionary and Post-Revolutionary France" (2017). Honors Undergraduate Theses. 195. https://stars.library.ucf.edu/honorstheses/195 METAMORPHOSIS OF LOVE: EROS AS AGENT IN REVOLUTIONARY AND POST-REVOLUTIONARY FRANCE by JENNIFER N. LAFFICK A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2017 Thesis Chair: Dr. Margaret Zaho ABSTRACT This thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon Eros’s portrayals shift from the Rococo’s mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. -
Divination and Fictionality in Apuleius' Metamorphoses
Begoming a book : divination and fictionality in Apuleius' Metamorphoses Autor(en): Kirichenko, Alexander Objekttyp: Article Zeitschrift: Museum Helveticum : schweizerische Zeitschrift für klassische Altertumswissenschaft = Revue suisse pour l'étude de l'antiquité classique = Rivista svizzera di filologia classica Band (Jahr): 68 (2011) Heft 2 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-178536 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Becoming a Book: Divination and Fictionality in Apuleius’ Metamorphoses By Alexander Kirichenko, Trier Abstract: This article argues that discussions about divination in Apuleius’ novel are used to highlight the narrative’s status as a piece of self-evident fiction. -
Plato's Phaedrus and Apuleius' Metamorphoses1
“Necessary Roughness”: Plato’s Phaedrus and Apuleius’ Metamorphoses1 JEFFREY T. WINKLE Calvin College Introduction Readers of Apuleius have long recognized the influence of Plato’s Phaedrus (along with other Platonic works) on his Metamorphoses, especially in the allegorical elements of the “Cupid and Psyche” centerpiece.2 Outside of “Cu- pid and Psyche” a handful of other allusions to the Phaedrus in the novel have been widely noted3 but it is the contention of this essay that elements of Plato’s Phaedrus are more deeply embedded in the themes and overall narrative(s) of the Apuleian novel than previously recognized. Reading the whole of the novel closely against the Phaedrus reveals that just as this particular dialogue provides a useful interpretive touchstone for the “Cupid and Psyche” tale, it functions in a similar and deliberate way for the novel’s principal narrative concerning Lucius, acting as backdrop to and underlining what we might call his fall and redemption. What follows is not an argument that the Phaedrus ————— 1 I am very grateful to my colleagues Ken Bratt, U.S. Dhuga, and David Noe for their helpful comments on an early draft of the essay as well as to Luca Graverini and the journal refer- ees especially for bringing me up to speed on recent scholarship and talking me down from particular interpretive ledges. 2 For Phaedrean (and other Platonic) influence on Cupid and Psyche see: Hooker 1955; Walsh 1970, 55ff, 195, 206ff; Penwill 1975; Anderson 1982, 75-85; Kenney 1990, 17-22; Schlam 1992, 82-98; Shumate 1996, 259ff; Dowden 1998; O’Brien 1998; Zimmerman 2004; Graverini 2012a, 112-113. -
Chapter Five: Cupid and Psyche
Chapter Five: Cupid and Psyche (from Mythology for Today Hamilton’s Mythology) 1. Venus becomes jealous because Psyche’s surpassing beauty has transfixed all the mortals, so that they forget Venus, and neglect her temples and altars. 2. Venus plans to have her son, Cupid, shoot Psyche with a love arrow, so that Psyche will fall in love with a hideous creature. Venus’ plan fails because Cupid himself falls in love with the beautiful Psyche. 3. Psyche’s father believes that he must leave her on the summit to be claimed by her serpent‐husband, for this is what he has been told by the Oracle of Apollo. However, the truth is that Cupid has arranged this himself, so that he can carry Psyche away as his own bride. 4. Her sisters become jealous of Psyche’s superior riches and treasures. 5. Psyche is torn between her love for and her faith in her husband, and the doubt and fear her sisters cause her to feel. She is unable to live with the uncertainty of not knowing the truth. 6. When Psyche sees that her husband is a beautiful youth, she feels too ashamed of her suspicion that she is about to plunge the knife intended for him into her own breast. However, her hand trembles and the knife falls. This faltering saves her own life, but also causes her to drip some lamp oil on Cupid, who sees that she has betrayed him and runs away. 7. Psyche is made to separate by kind a huge mixed mass of tiny grains; ants separate them for her. -
False Forms and Wicked Women: Apuleius' Isis Book and Ovid's Iphis
FALSE FORMS AND WICKED WOMEN: APULEIUS’ ISIS BOOK AND OVID’S IPHIS STORY Sarah H. Eisenlohr A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James Rives Sharon James Emily Baragwanath ©2019 Sarah H. Eisenlohr ALL RIGHTS RESERVED ii ABSTRACT Sarah H. Eisenlohr: False forms and wicked women: Apuleius’ Isis book and Ovid’s Iphis story (Under the direction of James Rives) In this thesis, I take a new approach to the study of Isis in Apuleius’ Golden Ass by comparing the novel to the story of Iphis written by Ovid in the Metamorphoses. I begin by reviewing the history of Isiac worship in the Roman world and previous research on Isis’ role in Apuleius. I then move on to a detailed study of literary allusions between the Golden Ass and Ovid’s Iphis story. From there, I explore the literary evidence concerning Isiac ethics and use my findings to analyze further the two texts at hand. I argue that both Apuleius and Ovid use Isis to mitigate the effects of dishonorable conduct in their narratives, especially that of a sexual nature. In each story, Isis ensures that her followers avoid behavior that disrupts communal and familial life, ultimately reinforcing traditional morality and social norms. iii TABLE OF CONTENTS INTRODUCTION………………………………………………………………………………...1 ISIS IN THE ROMAN WORLD………………………………………………………………….3 PLATONISM IN THE GOLDEN ASS……………………………………………………………5 ALLUSIONS TO THE METAMORPHOSES AND IPHIS IN THE GOLDEN ASS……………..8 SEXUALITY AND ISIAC ETHICS…………………………………………………………….22 CONCLUSION…………………………………………………………………………………..31 BIBLIOGRAPHY………………………………………………………………………………..33 iv INTRODUCTION This thesis aims to add a new dimension to the collective understanding of Isis’ role in Apuleius’ Golden Ass, as Lucius’ savior and as his patroness after his acceptance into her cult. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Apicius: (fourth century AD) is the Greek and Roman writers and the friends and family. name traditionally given to the lectures and conversations he had Columella: Lucius Iunius author of a collection of recipes, heard. The title Attic Nights refers Moderatus Columella (wrote c.AD de Re Coquinaria (On the Art of to Attica, the district in Greece 60–65) was born at Gades (modern Cooking). Marcus Gavius Apicius around Athens, where Gellius was Cadiz) in Spain and served in the was a gourmet who lived in the living when he wrote the book. Roman army in Syria. He wrote a early first centuryAD and wrote Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica about sauces. Seneca says that he Cassius Dio Cocceianus (c.AD (On Farming). claimed to have created a scientia 150–235) was born in Bithynia. He popīnae (snack bar cuisine). Diodorus Siculus: Diodorus had a political career as a consul (wrote c.60–30 BC) was a Greek Appian: Appianos (late first in Rome and governor of the from Sicily who wrote a history of century AD–AD 160s) was born in provinces of Africa and Dalmatia. the world centered on Rome, from Alexandria, in Egypt, and practiced His history of Rome, written in legendary beginnings to 54 BC. as a lawyer in Rome. -
An Exploration of Changes in Role and Character by Lisa Halim A
Psyche’s Metamorphosis: An Exploration of Changes in Role and Character By Lisa Halim A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfilment of the requirements of the degree of Master of Arts Department of Classics University of Manitoba Winnipeg Copyright © 2017 Lisa Halim Halim I Table of Contents Abstract…………………………………………………………………………….III Acknowledgments………………………………………………………………….IV Dedication…………………………………………………………………………..V Introduction………………………………………………………………………..1 Chapter I: Techniques and Approaches…………………………………………9 Introduction………………………………………………………………....9 Propp………………………………………………………………………..9 Campbell…………………………………………………………………...13 ATU……………………………………………………………………..…16 Psychological Elements……………………………………………………23 Artistic Tradition.………………………………………………………….24 Philosophical Elements……………………………………………………26 Societal Norms…………………………………………………………….27 Intratextual Details……………………………………………………...…28 Discussion…………………………………………………………………32 Chapter II: Psyche’s Moments of Role Reversal within the Tale……………..34 Introduction………………………………………………………………...34 Section One: Metamorphoses 4.28-4.35…………………………………...34 Section Two: Metamorphoses 5.1-5.24……………………………………40 Section Three: Metamorphoses 5.25-6.24…………………………………44 Discussion………………………………………………………………….52 Chapter Three: Application of Techniques and Approaches to the Tale……..53 Halim II Introduction…………………………………………………………………53 Propp………………………………………………………………………..56 Campbell……………………………………………………………………60 ATU…………………………………………………………………………64 Psychological Elements……………………………………………………..67 -
Naming Effects in Lucretius' De Rerum Natura
Antonomasia, Anonymity, and Atoms: Naming Effects in Lucretius’ DRN Princeton/Stanford Working Papers in Classics Antonomasia, Anonymity, and Atoms: Naming Effects in Lucretius’ De rerum natura Version 1.0 September 2009 Wilson H. Shearin Stanford University Abstract: This essay argues that selected proper names within Lucretius’ De rerum natura, rather than pointing deictically or referring with clear historical specificity, instead render Lucretius’ poem vaguer and more anonymous. To make this case, the essay first briefly surveys Roman naming practices, ultimately focusing upon a specific kind of naming, deictic naming. Deictic naming points (or attempts to point) to a given entity and often conjures up a sense of the reality of that entity. The essay then studies the role of deictic naming within Epicureanism and the relationship of such naming to instances of naming within De rerum natura. Through analysis of the nominal disappearance of Memmius, the near nominal absence of Epicurus, and the deployment of Venus (and other names) within the conclusion to Lucretius’ fourth book, the essay demonstrates how selected personal names in De rerum natura, in contrast to the ideal of deictic naming, become more general, more anonymous, whether by the substitution of other terms (Memmius, Epicurus), by referential wandering (Venus), or by still other means. The conclusion briefly studies the political significance of this phenomenon, suggesting that there is a certain popular quality to the tendency towards nominal indefiniteness traced in the essay. © Wilson H. Shearin. [email protected] 1 Antonomasia, Anonymity, and Atoms: Naming Effects in Lucretius’ DRN Antonomasia, Anonymity, and Atoms: Naming Effects in Lucretius’ De rerum natura Poet, patting more nonsense foamed From the sea, conceive for the courts Of these academies, the diviner health Disclosed in common forms. -
The Cupid and Psyche Myth in Edith Wharton's the Gods Arrive
Creativity Bound: The Cupid and Psyche Myth in Edith Wharton’s The Gods Arrive Edith Wharton (1862-1937) uses elements of Apuleius’ Cupid and Psyche myth in earlier works, such as the short story, “The Lamp of Psyche” and in her novel The Reef to narrate the illusions of love. In Wharton’s last published novel, The Gods Arrive (1932), the sequel to Hudson River Bracketed (1929), she develops the theme of Cupid and Psyche once again in the protagonist writer, Vance Weston, and his muse, Halo Spear. As previously, Wharton uses the allusion to narrate the suspicion and disenchantment that begin to seep into their relationship, but extends the metaphors of lamps, wings, and chains to develop Vance’s creative journey, which is bound up in Vance’s love affair with Halo. Wharton, who read Plato’s Republic, Symposium, and the Phaedrus, incorporates Platonic elements along with the Cupid and Psyche myth to narrate of the journeys of both the artist and the muse. [Get Carol Singley’s observation in here.] Halo, in speaking of artists pursuing their calling, terms the end result their “salvation” (Wharton 201). For Vance the creative process is, in part, a development of his soul, and his story is told in terms of revelation and spiritual conversion. Halo and Vance each assume the roles of both Cupid and Psyche. At times Vance is the figure of Psyche, as he craves spiritual and creative transcendence. Halo is the divine Cupid figure who provides the means to his achieving this. At other times Halo is Psyche, who is not certain she can bear the happiness Vance offers her (Wharton 11). -
Flaubert, Apuleius and Ovid: the Genesis of a Recurring Theme
STEPHEN GODDARD Flaubert, Apuleius and Ovid: The Genesis of a Recurring Theme Abstract: This essay examines the way in which Flaubert uses classi- cal intertexts in his works, and, in particular, how the rewriting often gives rise to a burlesque version of the original. It focuses on the tale of Acteon, as recounted by Ovid in Metamorphoses and alluded to by Apuleius in The Golden Ass, and demonstrates how these classical stories are activated in Flaubert’s work. By means of an examination of often striking textual similarities between Flaubert’s work and that of Ovid and Apuleius, this piece shows how a clear pattern of intertex- tual reference emerges in Flaubert’s work, ranging from early “straight” borrowings from the classical texts to later burlesques of certain of their aspects. Numerous commentators have noted the importance of the fairy tale as a point of reference in Flaubert’s work.1 Equally as obsessive, and, of course, also related to a particular fairy tale – that of La Belle et la Bête – is the appearance of the Cupid/Eros and Psyche myth as a point of reference for much of Flaubert’s symbolism.2 So well-known is the latter intertext that the myth emerges in the most unlikely circum- stances: for example, in Gemma Bovery, Posy Simmonds’s cartoon re- 1 See, for example, Anne Green, ‘Flaubert and the Sleeping Beauty: An Obsessive Image’, in New Approaches in Flaubert studies, ed. by Tony Williams and Mary Orr (Lampeter: Edwin Mellen Press, 1999), pp. 65-80. 2 The most obvious example is Margaret Lowe’s study, Towards the Real Flaubert: A Study of ‘Madame Bovary’ (Oxford: Oxford University Press, 1984).