Editing Cupid and Psyche (section)

==Classical tradition==
Apuleius's novel was among the ancient texts that made the crucial transition from [[scroll|roll]] to [[codex]] form when it was edited at the end of the 4th century. It was known to Latin writers such as [[Augustine of Hippo]], [[Macrobius]], [[Sidonius Apollinaris]], Martianus Capella, and Fulgentius, but toward the end of the 6th century lapsed into obscurity and survived what was formerly known as the "[[Dark Ages (historiography)|Dark Ages]]" through perhaps a single [[manuscript]].<ref>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.</ref> The ''Metamorphoses'' remained unknown in the 13th century,<ref>Carver, "The Rediscovery of the Latin Novels," p. 259.</ref> but copies began to circulate in the mid-1300s among the [[Italian humanism|early humanists]] of [[Renaissance Florence|Florence]].<ref>May, "The Prologue to Apuleius' ''Metamorphoses''," pp. 282–284.</ref> Boccaccio's text and interpretation of ''Cupid and Psyche'' in his ''[[Genealogia deorum gentilium]]'' (written in the 1370s and published 1472) was a major impetus to the reception of the tale in the [[Italian Renaissance]] and to its dissemination throughout Europe.<ref>Jane Kingsley-Smith, ''Cupid in Early Modern Literature and Culture'' (Cambridge University Press, 2010), pp. 11, 165.</ref>

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.<ref name="autogenerated168">Kingsley-Smith, ''Cupid in Early Modern Literature and Culture'', p. 168.</ref> 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)|Hill Hall, Essex]], was modeled indirectly after that of the Villa Farnesina around 1570,<ref>Kingsley-Smith, ''Cupid in Early Modern Literature and Culture'', pp. 163, 168. The fresco cycle, commissioned by [[Thomas Smith (diplomat)|Sir Thomas Smith]], was based on engravings by the [[Master of the Die]] and [[Agostino Veneziano]] (1536), which had been taken from the work of [[Michiel Coxie]] that was modeled on the Loggia di Psiche.</ref> and [[Thomas Heywood]]'s [[masque]] ''Love's Mistress'' dramatized the tale to celebrate the wedding of [[Charles I of England|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.<ref>Kingsley-Smith, ''Cupid in Early Modern Literature and Culture'', p. 173.</ref> 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.<ref>Kingsley-Smith, ''Cupid in Early Modern Literature and Culture'', p. 176.</ref>

[[File:Hermitageoraziogentileschicupidandpsyche.jpg|thumb|[[Orazio Gentileschi]] exposed the erotic vulnerability of the male figure in his ''Cupid and Psyche'' (1628–30)]]

Another peak of interest in ''Cupid and Psyche'' occurred in the Paris of the late 1790s and early 1800s, reflected in a proliferation of opera, ballet, [[Salon (Paris)|Salon art]], deluxe book editions, interior decoration such as clocks and wall paneling, and even hairstyles. In the aftermath of the [[French Revolution]], the myth became a vehicle for the refashioning of the self.<ref>Ewa Lajer-Burchart, ''Necklines: The Art of Jacques-Louis David After the Terror'' (Yale University Press, 1999), pp. 278–279.</ref> In English intellectual and artistic circles around the turn of the 18th and 19th centuries, the fashion for ''Cupid and Psyche'' accompanied a fascination for the ancient [[mystery religions]]. In writing about the [[Portland Vase]], which was obtained by the [[British Museum]] around 1810, [[Erasmus Darwin]] speculated that the myth of Cupid and Psyche was part of the [[Eleusinian Mysteries|Eleusinian cycle]]. With his interest in [[natural philosophy]], Darwin saw the butterfly as an apt emblem of the soul because it began as an earthbound caterpillar, "died" into the [[pupa|pupal stage]], and was then resurrected as a beautiful winged creature.<ref>Kathleen Raine, ''Blake and Tradition'' (Routledge, 1969, 2002), vol. 1, p. 183.</ref>

===Literature===
In 1491, the poet Niccolò da Correggio retold the story with Cupid as the narrator.<ref name="autogenerated57">Entry on "Apuleius," ''Classical Tradition, ''p. 57.</ref> [[John Milton]] alludes to the story at the conclusion of ''[[Comus (John Milton)|Comus]]'' (1634), attributing not one but two children to the couple: Youth and Joy. [[Shackerley Marmion]] wrote a verse version called ''Cupid and Psyche'' (1637), and [[La Fontaine]] adapted the story into a mixed prose and verse romance named ''Les Amours de Psiché et de Cupidon'' (''The Loves of Cupid and Psyche''; 1669).<ref name="autogenerated57"/>

[[William Blake's mythology]] draws on elements of the tale particularly in the figures of [[Luvah]] and [[Vala (Blake)|Vala]]. Luvah takes on the various guises of Apuleius's Cupid: beautiful and winged; disembodied voice; and serpent.<!--a giddily non-parallel construction--> [[William Blake|Blake]], who mentions his admiration for Apuleius in his notes, combines the myth with the spiritual quest expressed through the eroticism of the [[Song of Solomon]], with [[Solomon]] and the [[Shulamite]] as a parallel couple.<ref>Raine, ''Blake and Tradition'', vol. 1, pp. 182–203, quoting Blake's notes on ''[[A Vision of the Last Judgment]]'', and especially pp. 183, 191 and 201.</ref>

[[File:Cupid and psyche.jpg|thumb|left|280px|''[[Love and Psyche (David)|Cupid and Psyche]]'' (1817) by [[Jacques-Louis David]]: the choice of narrative moment—a [[libertine]] adolescent Cupid departs Psyche's bed with "malign joy"<ref>As described by a contemporary reviewer of the new work, quoted by Philippe Bordes, ''Jacques-Louis David: Empire to Exile'' (Yale University Press, 2005), p. 234.</ref>—was a new twist on the well-worn subject<ref>Bordes, ''Jacques-Louis David,'' p. 232.</ref>]]

[[Mary Tighe]] published her poem ''Psyche'' in 1805. She added some details to the story, such as placing two springs in Venus' garden, one with sweet water and one with bitter. When Cupid starts to obey his mother's command, he brings some of both to a sleeping Psyche, but places only the bitter water on Psyche's lips. Tighe's Venus only asks one task of Psyche, to bring her the forbidden water, but in performing this task Psyche wanders into a country bordering on [[Edmund Spenser|Spenser]]'s ''[[The Faerie Queene|Fairie Queene]]'' as Psyche is aided by a mysterious visored knight and his squire Constance, and must escape various traps set by Vanity, Flattery, Ambition, Credulity, Disfida (who lives in a "Gothic castle"), Varia and Geloso. Spenser's [[Blatant Beast]] also makes an appearance. Tighe's work influenced English lyric poetry on the theme, such as the ''[[Ode to Psyche]]'' (1820) by [[John Keats]].<ref>{{Cite web|url=https://www.poetryfoundation.org/poems/44480/ode-to-psyche|title=Ode To Psyche|last=Keats|first=John|website=Poetry Foundation|date=15 August 2021}}</ref>{{citation needed|date=February 2013}} [[Letitia Elizabeth Landon]]'s poem ''Cupid and Psyche'' (1826) illustrates an engraving of a painting by W. E. West.

[[William Morris]] retold the Cupid and Psyche story in verse in ''[[The Earthly Paradise]]'' (1868–70), and a chapter in [[Walter Pater]]'s ''[[Marius the Epicurean]]'' (1885) was a prose translation.<ref name="autogenerated57"/> About the same time, [[Robert Bridges]] wrote ''[[Eros and Psyche (Robert Bridges)|Eros and Psyche: A Narrative Poem in Twelve Measures]]'' (1885; 1894).

[[Sylvia Townsend Warner]] transferred the story to [[Victorian era|Victorian]] England in her novel ''The True Heart'' (1929), though few readers made the connection till she pointed it out herself.<ref>J. Lawrence Mitchell, "Ray Garnett as Illustrator". ''Powys Review'' '''10''' (spring 1982), pp. 9–28.</ref> Other literary adaptations include ''[[The Robber Bridegroom (novel)|The Robber Bridegroom]]'' (1942), a novella by [[Eudora Welty]]; ''[[Till We Have Faces]]'' (1956), a version by [[C. S. Lewis]] narrated by a sister of Psyche; and the poem "Psyche: 'Love drove her to Hell'" by [[H.D.|H.D. (Hilda Doolittle)]].<ref>Entry on "Apuleius," ''Classical Tradition,'' p. 57.</ref>  [[Robert A. Johnson (psychotherapist)|Robert A. Johnson]] made use of the story in his book ''She: Understanding Feminine Psychology'', published in 1976 by [http://www.harpercollins.com/search-results?contributor=robert-a-johnson HarperCollinsPublishers].

====Translations====
[[William Adlington]] made the first translation into English of Apuleius's ''Metamorphoses'' in 1566, under the title ''{{Not a typo|The XI Bookes of the Golden Asse, Conteininge the Metamorphosie of Lucius Apuleius}}''. Adlington seems not to have been interested in a Neoplatonic reading, but his translation consistently suppresses the sensuality of the original.<ref name="autogenerated168"/> [[Thomas Taylor (neoplatonist)|Thomas Taylor]] published an influential translation of ''Cupid and Psyche'' in 1795, several years before his complete ''Metamorphoses''.<ref>Raine, ''Blake and Tradition'', vol. 1, p. 182.</ref> A translation by [[Robert Graves]] appeared in 1951 as ''The Transformations of Lucius Otherwise Known as THE GOLDEN ASS, A New Translation by Robert Graves from Apuleius'', published by [[Farrar, Straus & Giroux]], New York.

====Folklore and children's literature====
[[File:Edward Burne-Jones Pan and Psyche.jpg|thumb|upright|''[[Pan (god)|Pan]] and Psyche'' (1872–74) by Edward Burne-Jones]]

=====Origins=====
Folklore scholarship has also occupied itself with the possible origin of the narrative.<ref>Walsh, Patrick G. ''[https://books.google.com/books?id=9xA8AAAAIAAJ&dq=%22tulisa%22+cupid+and+psyche&pg=PA194 The Roman novel: The 'Satyricon' of Petronius and the 'Metamorphoses' of Apuleius]''. Cambridge: Cambridge University Press, 1970. pp. 193-195.</ref><ref>{{cite book |doi=10.1017/9781108163767.003 |chapter=Intercultural Encounters in the Late Byzantine Vernacular Romance |title=Reading the Late Byzantine Romance |year=2018 |last1=Cupane |first1=Carolina |pages=40–68 |isbn=9781108163767 |s2cid=192357521 }}</ref> Swedish folklorist {{ill|Jan-Öjvind Swahn|sv|Jan-Öjvind Swahn}}, who authored a long study on the story, German philologist [[Ludwig Friedländer]] and Russian folklorist [[Vladimir Propp]] defended the idea that it originated from a legitimate folklore source.<ref>{{cite journal |last1=Silva |first1=Francisco Vaz da |title=The Invention of Fairy Tales |journal=Journal of American Folklore |date=1 October 2010 |volume=123 |issue=490 |pages=398–425 |doi=10.5406/jamerfolk.123.490.0398 }}</ref><ref>Friedländer, Ludwig. ''Roman life and manners under the early Empire''. Vol. IV. London: Routledge. 1913. p. 102.</ref><ref>"Some scholars date the tale to this era [2nd century DC]. At the same time, Apuleius’s tale represents the first, most ancient written record of the folktale, but the tale itself is undoubtedly much more ancient. Apuleius’s text is a literary reworking, made by a thinker and philosopher." ''The Russian Folktale by Vladimir Yakovlevich Propp''. Edited and Translated by Sibelan Forrester. Foreword by [[Jack Zipes]]. Wayne State University Press, 2012. p. 190. {{ISBN|9780814334669}}.</ref>

Some scholars tend to look for a single source: [[Stith Thompson]] suggested an Italian origin,<ref>{{cite book |quote=The tale [of Cupid and Psyche] has most of the elements of the present-day folk story (...) we have here what certainly appears to be a real tale of the Italian countryside during the reign of [[Marcus Aurelius]] |last=Thompson |first=Stith |date=1977 |title=The Folktale |publisher=[[University of California Press]] |pages=281–282 |isbn=0-520-03537-2}}</ref> while Lesky, Gédeon Huet<ref>{{cite book |quote=Nous possêdons encore, dans l'histoire de Psyche, inserée par Apulee dans son roman des ''Metamorphoses'', un vrai conte populaire de l'antiquité ... |last=Huet |first=Gedeon Busken |url=https://archive.org/details/ContesPopulaires/page/n42/mode/1up?q=psyche |title=Contes populaires |location=Paris |publisher=E. Flammarion |date=1923 |pages=43 |language=FR}}</ref> and {{ill|Georgios A. Megas|el|Γεώργιος Μέγας}} indicated a Greek origin.<ref>Megas, G. 1967. ''Das Märchen von Amor und Psyche in der griechischen Volksüberlieferung (AaTh 425, 428 & 432)''. Athens</ref> French {{ill|Émile Dermenghem|fr|Émile Dermenghem}} favoured a North African source,<ref>{{cite journal |last1=Herrmann |first1=Léon |title=Review of The Tale of Cupid and Psyche, Aarne-Thompson 425 and 428 |journal=Latomus |date=1955 |volume=14 |issue=3 |pages=494 |jstor=41518077 }}</ref> followed by French researchers Nedjima and Emmanuel Plantade, who all argue that the tale is a reworking of [[Berbers|Berber]] folklore, since Apuleius was born and lived in [[Madauros]], [[Numidia (Roman province)|Numidia]], located in what is modern day Algeria.<ref>Plantade, Emmanuel and Nedjima. "[https://www.academia.edu/3623771/Libyca_Psyche_Apuleius_and_the_Berber_Folktales Libyca Psyche: Apuleius and the Berber Folktales]". In: ''Apuleius and Africa''. Editors: Benjamin Todd Lee, Luca Graverini, Ellen Finkelpearl. Routledge, 2014. pp. 174-202.</ref>

Another line of scholars argue for some myth that underlines the Apuleian narrative. German classicist [[Richard August Reitzenstein]] supposed on an "Iranian sacral myth", brought to Greece via Egypt.<ref>Reitzenstein, Richard. ''[https://archive.org/details/dasmrchenvonam00reituoft/page/21/mode/1up?q=deutung Das märchen von Amor und Psyche bei Apuleius]''. Leipzig: B.G. Teubner. 1912.</ref><ref>[[Hendrik Wagenvoort|Wagenvoort, H.]] ''[https://books.google.com/books?id=yel5DwAAQBAJ&dq=%22iranian%22+cupid+and+psyche&pg=PA86 Pietas: Selected Studies in Roman Religion]''. Leiden: E. J. Brill, 1980. p. 86. {{ISBN|90-04-06195-9}}.</ref> Graham Anderson argues for a reworking of mythic material from Asia Minor (namely, [[Hittite mythology and religion|Hittite]]: the [[Telipinu (mythology)|Myth of Telipinu]]).<ref>Anderson, Graham (2000). ''Fairytale in the ancient world''. Routledge. pp. 61-69. {{ISBN|978-0-415-23702-4}}.</ref> In a study published posthumously, Romanian folklorist {{ill|Petru Caraman|ro|Petru Caraman}} also argued for a folkloric origin, but was of the notion that Apuleius superimposed Graeco-Roman mythology on a pre-Christian myth about a serpentine or draconic husband, or a "King of Snakes" that becomes human at night.<ref>Repciuc, Ioana. "[https://biblioteca-digitala.ro/?volum=5097-anuarul-muzeului-etnografic-al-moldovei--xv-2015 Identificarea sursei folclorice a basmului Cupidon şi Psyché de către Petru Caraman – în contextul cercetărilor internaţionale]" [Petru Caraman's Work on Identifying the Folkloric Source of Cupidon şi Psyche Fairytale – In the Context of International Research]. In: ''Anuarul Muzeului Etnografic al Moldovei'' 15 (2015): 193, 197-205.</ref>

On the other extreme, German classicist {{ill|Detlev Fehling|de|Detlev Fehling}} took a hard and skeptical approach and considered the tale to be a literary invention of Apuleius himself.<ref>{{cite journal |last1=Dowden |first1=Ken |title=Detlev Fehling: Amor und Psyche: Die Schöpfung des Apuleius und ihre Einwirkung auf das Märchen, eine Kritik der romantischen Märchentheorie. (Akademie der Wissenschaften und der Literatur: Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse: Jahrgang 1977: Nr. 9.) Pp. 110. Wiesbaden: Franz Steiner, 1977. Paper, DM. 28. |journal=The Classical Review |date=October 1979 |volume=29 |issue=2 |pages=314 |doi=10.1017/S0009840X00233465 }}</ref>

=====Literary legacy=====
Friedländer also listed several European tales of marriage between a human maiden and prince cursed to be an animal, as related to the "Cupid and Psyche" cycle of stories (which later became known as "[[The Search for the Lost Husband]]" and "[[Animal as Bridegroom]]").<ref>Friedländer, Ludwig. ''Roman life and manners under the early Empire''. Vol. IV. London: Routledge. 1913. pp. 88-123.</ref><ref>{{cite journal |last1=Hurbánková |first1=Šárka |title=G.B. Basile and Apuleius: first literary tales : morphological analysis of three fairytales |journal=Graeco-Latina Brunensia |date=2018 |issue=2 |pages=75–93 |doi=10.5817/GLB2018-2-6 |doi-access=free }}</ref>

[[Bruno Bettelheim]] notes in ''[[The Uses of Enchantment]]'' that the 18th-century fairy tale ''[[Beauty and the Beast]]'' is a version of ''Cupid and Psyche''. Motifs from Apuleius occur in several fairy tales, including ''[[Cinderella]]'' and ''[[Rumpelstiltskin]]'', in versions collected by folklorists trained in the classical tradition, such as [[Charles Perrault]] and the [[Grimm brothers]].<ref>Harrison, "Cupid and Psyche," ''Oxford Encyclopedia of Ancient Greece and Rome,'' p. 339.</ref> In the Grimm version, Cinderella is given the task of sorting lentils and peas from ash, and is aided by birds just as ants help Psyche in the sorting of grain and legumes imposed on her by Venus. Like Cinderella, Psyche has two envious sisters who compete with her for the most desirable male. Cinderella's sisters mutilate their own feet to emulate her, while Psyche's are dashed to death on a rocky cliff.<ref>Amy K. Levin, ''The Suppressed Sister: A Relationship in Novels by Nineteenth- and Twentieth-Century British Women'' (Associated University Presses, 1992), pp. 23–24 ''et passim.''</ref> In [[Hans Christian Andersen]]'s ''[[The Little Mermaid]]'', the Little Mermaid is given a dagger by her sisters, who, in an attempt to end all the suffering she endured and to let her become a mermaid again, attempt to persuade her to use it to slay the Prince while he is asleep with his new bride. She cannot bring herself to kill the Prince, however. Unlike Psyche, who becomes immortal, she doesn't receive his love in return, but she, nevertheless, ultimately earns the eternal soul she yearns for.

[[Thomas Bulfinch]] wrote a shorter adaptation of the Cupid and Psyche tale for his ''Age of Fable'', borrowing Tighe's invention of Cupid's self-wounding, which did not appear in the original. [[Josephine Preston Peabody]] wrote a version for children in her ''Old Greek Folk Stories Told Anew'' (1897).

[[C. S. Lewis]]' ''[[Till We Have Faces]]'' is a retelling of Apuleius' ''Cupid and Psyche'' from the perspective of one of Psyche's sisters. ''[[Till We Have Faces]]'' is C. S. Lewis' last work of fiction and elaborates on Apuleius' story in a modern way.

===Performing arts===
In 1634, [[Thomas Heywood]] turned the tale of Cupid and Psyche into a [[masque]] for the court of [[Charles I of England|Charles I]].<ref><!--J.H.G.,-->Entry on "Apuleius", ''Classical Tradition'', p. 57.</ref> [[Jean-Baptiste Lully|Lully]]'s ''[[Psyché (opera)|Psyché]]'' (1678) is a Baroque [[French opera]] (a "[[tragédie lyrique]]") based on [[Psyché (play)|the 1671 play]] by [[Molière]], which had musical ''[[intermède]]s'' by Lully. [[Matthew Locke (composer)|Matthew Locke]]'s [[semi-opera]] ''[[Psyche (Locke)|Psyche]]'' (1675) is a loose reworking from the 1671 production. In 1800, [[Ludwig Abeille]] premièred his four-act German opera ''([[singspiel]])'' ''[[Amor und Psyche]]'', with a [[libretto]] by {{ill|Franz Carl Hiemer|fr}} based on Apuleius.

[[File:Psyche et LAmour.jpg|thumb|upright|''Psyché et l'Amour'' (1889) by [[William-Adolphe Bouguereau|Bouguereau]]]]

In the 19th century, ''Cupid and Psyche'' was a source for "transformations", visual interludes involving ''[[tableaux vivants]]'', [[Scrim (material)|transparencies]] and [[stage machinery]] that were presented between the scenes of a [[pantomime]] but extraneous to the plot.<ref>Anita Callaway, ''Visual Ephemera: Theatrical Art in Nineteenth-Century Australia'' (University of New South Wales Press, 2000), p. 177.</ref> During the 1890s, when ''tableaux vivants'' or "living pictures" were in vogue as a part of [[vaudeville]], the 1889 ''Psyché et l'Amour'' of [[Bouguereau]] was among the artworks staged. To create these ''tableaux'', costumed performers "froze" in poses before a background copied meticulously from the original and enlarged within a giant picture frame. Nudity was feigned by flesh-colored [[bodystocking]]s that negotiated standards of realism, good taste, and morality.<ref>Charles 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.</ref> Claims of educational and artistic value allowed female nudes—a popular attraction—to evade censorship.<ref name="Callaway, p. 76">Callaway, ''Visual Ephemera,'' p. 76.</ref> ''Psyché et l'Amour'' was reproduced by the [[scenic painter]] Edouard von Kilanyi, who made a tour of Europe and the United States beginning in 1892,<ref>Musser, "Comparison and Judgment across Theater, Film, and the Visual Arts," p. 7.</ref> and by George Gordon in an Australian production that began its run in December 1894.<ref>Callaway, ''Visual Ephemera,'' p. 217.</ref> The illusion of flight was so difficult to sustain that this ''tableau'' was necessarily brief.<ref name="Callaway, p. 76"/> The performer billed as "The Modern Milo" during this period specialized in recreating female sculptures, a ''Psyche'' in addition to her namesake ''[[Venus de Milo]]''.<ref>Callaway, ''Visual Ephemera,'' p. 70</ref>

[[Frederick Ashton]] choreographed a [[ballet]] ''Cupid and Psyche'' with music by [[Lord Berners]] and decor by Sir Francis Rose, first performed on 27 April 1939 by the [[Sadler's Wells Ballet]] (now [[Royal Ballet]]). Frank Staff danced as Cupid, [[Julia Farron]] as Psyche, [[Michael Somes]] as Pan, and [[June Brae]] as Venus.<ref>Arnold Haskell (ed) 'Gala Performance' (Collins 1955) p213.</ref>

==== Modern adaptations ====
[[File:Cupid and Psyche (1897).webm|thumb|An American [[vaudeville]] performance from 1897 as Cupid and Psyche]]
''Cupid and Psyche'' continues to be a source of inspiration for modern playwrights and composers. Notable adaptations include:

* ''Psyche'' ([[symphonic poem]]) by [[César Franck]] (1888)<ref>{{cite news |last1=Tommasini |first1=Anthony |title=CLASSICAL MUSIC; Spelling Out The Musical Tale of 'Psyche' |url=https://www.nytimes.com/1997/10/05/arts/classical-music-spelling-out-the-musical-tale-of-psyche.html |work=The New York Times |date=5 October 1997 }}</ref>
* [[Till We Have Faces|''Till We Have Faces: A Myth Retold'']] by C. S. Lewis <ref>{{Cite web |title=Till We Have Faces {{!}} Fantasy Novel, Mythology & Christian Allegory {{!}} Britannica |url=https://www.britannica.com/topic/Till-We-Have-Faces |access-date=2023-11-02 |website=www.britannica.com |language=en}}</ref>
* "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.<ref>{{cite web| url = https://go.gale.com/ps/anonymous?id=GALE%7CA265977519&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=87568667&p=AONE&sw=w |title = Debussy's Syrinx: mystery, myth, and a manuscript - Document - Gale Academic OneFile}}</ref> 
* ''Eros and Psyche'' (opera) with libretto by [[Jerzy Żuławski]], composed by [[Ludomir Różycki]] (Wroclaw, Poland, 1917) <ref>{{Cite web|url=https://operajournal.blogspot.com/2018/05/rozycki-eros-and-psyche-warsaw-2017.html|title=OperaJournal: Różycki - Eros and Psyche (Warsaw, 2017)|last=Nine|first=Keris|date=2018-05-15|website=OperaJournal|access-date=2019-12-06}}</ref>
*' 'Psyche: An Opera in Three Acts'' (opera) based on the novel ''Psyche'' by [[Louis Couperus]], composed by Meta Overman (1955) <ref>{{Cite web|url=https://www.facebook.com/events/sydney-conservatorium-of-music-the-university-of-sydney/psyche-an-opera-in-3-acts-by-meta-overman/346868532554202/|title=Psyche - An opera in 3 acts by Meta Overman|website=www.facebook.com|language=en|access-date=2019-12-06}}</ref><ref>{{Cite web|url=https://www.limelightmagazine.com.au/news/meta-overmans-opera-psyche-revived/|title=Meta Overman's opera Psyche revived|website=Limelight|language=en-AU|access-date=2019-12-06}}</ref>
* ''[[Metamorphoses (play)|Metamorphoses]]'' (play) by [[Mary Zimmerman]], adapted from the [[Classical antiquity|classic]] [[Ovid]] poem ''[[Metamorphoses]]'', including the myth of ''Eros and Psyche'' ([[Northwestern University]], 1996; [[Circle in the Square Theatre]], Broadway, NYC 2002)
*''The Golden Ass'' (play) by [[Peter Oswald]], adapted from [[Apuleius]], commissioned for [[Shakespeare's Globe]] (London, England 2002) <ref>{{cite news|url=https://www.theguardian.com/artanddesign/2002/jul/31/artsfeatures.features1|title=Something old, something new|author=Guardian Staff|date=2002-07-31|work=The Guardian|access-date=2019-12-06|language=en-GB|issn=0261-3077}}</ref> 
* ''Cupid and Psyche'' (musical) by with book and lyrics by Sean Hartley and music by Jihwan Kim (New York City, NY 2003)''.''<ref>{{Cite web|url=https://www.theatermania.com/new-york-city-theater/reviews/cupid-and-psyche_3922.html|title=Cupid and Psyche {{!}} TheaterMania|website=www.theatermania.com|language=en-US|access-date=2019-12-06}}</ref>
* ''Cupid and Psyche'' ([[Verse drama and dramatic verse|verse drama]]) by Joseph Fisher ([[Stark Raving Theatre]], Portland, OR 2002; Staged Reading: [[Oregon Shakespeare Festival]], 2002) <ref>{{Cite web|url=https://www.playscripts.com/play/413#productions|title=Cupid & Psyche by Joseph Fisher {{!}} Playscripts Inc.|website=www.playscripts.com|access-date=2019-12-06}}</ref>
* ''Amor & Psyche'' ([[pastiche]] opera) arranged by Alan Dornak ([http://www.operaferoce.com/ Opera Feroce], part of Vertical Player Repertory, New York City, 2010)<ref>{{cite news |last1=Schweitzer |first1=Vivien |title=Variety Show, With Arias Thrown In |url=https://www.nytimes.com/2010/10/26/arts/music/26opera.html |work=The New York Times |date=25 October 2010 }}</ref><ref>{{Cite web|url=http://www.operaferoce.com/repertoire|title=Repertoire|website=Opera Feroce|language=en-US|access-date=2019-12-06}}</ref>
* ''Cupid and Psyche: An Internet Love Story'' (play) by Maria Hernandez, Emma Rosecan and Alexis Stickovitch (YouthPLAYS, 2012) <ref>{{Cite web|url=https://www.youthplays.com/play/cupid-and-psyche-an-internet-love-story-by-maria-hernandez-emma-rosecan-alexis-stickovitch-245|title=Cupid and Psyche: An Internet Love Story by Maria Hernandez, Emma Rosecan, and Alexis Stickovitch|website=YouthPLAYS|access-date=2019-12-06}}</ref>
* ''Psyche: A Modern Rock Opera'' ([[rock opera]]) by Cindy Shapiro (Greenway Court Theater, Los Angeles, CA, 2014) <ref>{{Cite web|url=https://operafresh.blogspot.com/2014/09/rock-opera-offers-new-telling-of-psyche.html|title=Opera Fresh: Rock Opera Offers New Telling Of The Psyche And Eros Story|last=Fresh|first=Opera|date=2014-09-03|website=Opera Fresh|access-date=2019-12-06}}</ref><ref>{{Cite web|url=http://www.psycherockopera.com/|title=Psyche Rock Opera|website=psycherockopera|language=en|access-date=2019-12-06}}</ref>
* ''Cupid and Psyche'' ([[Verse drama and dramatic verse|verse drama]]) by [[Emily C. A. Snyder]] ([http://www.turntoflesh.org Turn to Flesh Productions] [TTF], New York City, NY, 2014).<ref>{{Cite web|url=https://stagebuddy.com/theater/theater-review/review-cupid-psyche|title=Review: Cupid and Psyche|date=2014-03-06|website=StageBuddy.com|language=en-US|access-date=2019-12-06}}</ref> As part of the ''[[Emily C. A. Snyder#Love and Death Trilogy|Love and Death Trilogy]]'' (Staged Reading, TTF, New York City, NY 2018) <ref>{{Cite web|url=https://www.broadwayworld.com/off-off-broadway/article/Turn-to-Flesh-Productions-Celebrates-Five-Years-20180918|title=Turn to Flesh Productions Celebrates Five Years|author=BWW News Desk|website=BroadwayWorld.com|language=en|access-date=2019-12-06}}</ref>
* ''Amor and Psyche (In Times of Plagues)'' ([[Short film]]) by [[VestAndPage]] (2020) <ref>{{Cite web|url=http://pixelsgarage.com/amor-and-psyche|title=Review: Amor and Psyche|date=2020-11-26|website=pixelsgarage.com|language=en-US|access-date=2020-11-27}}</ref>
* "Amore e Psiche" (opera) by [[Fabio Mengozzi]] (2023)<ref>{{Cite web|url=http://www.ilsaxofonoitaliano.it/opere/amore-e-psiche/|title=Opere - Amore e Psiche|website=il Saxofono italiano|language=it|access-date=}}</ref>

===Psychology===
[[File:Fragonard psyche.jpg|thumb|250px|Psyche showing her Sisters her Gifts from Cupid, Painting by [[Jean-Honoré Fragonard]]]]

Viewed in terms of psychology rather than allegory, the tale of Cupid and Psyche shows how "a mutable person … matures within the [[Social constructionism|social construct]]s of family and marriage".<ref>Relihan, ''The Tale of Cupid and Psyche,'' p. 76.</ref> In the [[Archetypal psychology#Psyche or soul|Jungian allegory]] of [[Erich Neumann (psychologist)|Erich Neumann]] (1956), the story of Psyche was interpreted as "the psychic development of the feminine".<ref><!--J.H.G.-->, entry on "Apuleius," ''Classical Tradition,'' p. 56.</ref><ref>Neumann, Erich. Amor and Psyche: The psychic development of the feminine. Vol. 24. Routledge, 2013</ref>

''Cupid and Psyche'' has been analyzed from a [[feminist criticism|feminist perspective]] as a paradigm of how the gender unity of women is disintegrated through rivalry and envy, replacing the bonds of sisterhood with an ideal of heterosexual love.<ref>Amy K. Levin, ''The Suppressed Sister: A Relationship in Novels by Nineteenth- and Twentieth-Century British Women'' (Associated University Presses, 1992), p. 22.</ref> This theme was explored in ''Psyche's Sisters: Reimagining the Meaning of Sisterhood'' (1988) by [[Christine Downing]],<ref>Levin, ''The Suppressed Sister,'' p. 14.</ref> who uses [[polytheistic myth as psychology|myth as a medium for psychology]].

[[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).

===Fine and decorative arts===
The story of Cupid and Psyche is depicted in a wide range of visual media. Psyche is often represented with butterfly wings, and the butterfly is her frequent attribute and a symbol of the soul, though the literary ''Cupid and Psyche'' never says that she has or acquires wings. In [[classical antiquity|antiquity]], an iconographical tradition existed independently of Apuleius's tale and influenced later depictions.<ref>Relihan, ''The Tale of Cupid and Psyche'', p. xvii; Jean Sorabella, "A Roman Sarcophagus and Its Patron," ''Metropolitan Museum Journal'' 36 (2001), p. 73.</ref>

====Ancient art====
[[File:Cupid and Psyche, Roman sarcophagus panel - Indianapolis Museum of Art - DSC00753.JPG|thumb|upright=1.3|On this fragment from a sarcophagus used in the early 4th century, Cupid and a butterfly-winged Psyche frame a portrait of the deceased, carried on an eagle with a [[cornucopia]] and spilling basket of fruit<ref>"Sarcophagus panel: Cupid and Psyche", Indianapolis Museum of Art [http://www.imamuseum.org/art/collections/artwork/sarcophagus-panel-cupid-and-psyche- description.] {{webarchive|url=https://web.archive.org/web/20120622170258/http://www.imamuseum.org/art/collections/artwork/sarcophagus-panel-cupid-and-psyche- |date=2012-06-22 }} The sarcophagus was made for retail, and the portrait added later.</ref> ''([[Indianapolis Museum of Art]])'']]
[[File:BegramMedallion5.jpg|thumb|Eros and Psyche plaster medallion (1st century A.D.)<ref>{{cite book|url=https://books.google.com/books?id=1D6wUrxqcRIC&pg=PA141|title=Afghanistan: Hidden Treasures from the National Museum, Kabul|first=Mūzah-ʼi|last=Kābul|date=20 March 2018|publisher=National Geographic Books|isbn=9781426202957|access-date=20 March 2018|via=Google Books}}</ref> excavated in Begram, collections of [[National Museum of Afghanistan]];<ref>{{cite web| url = http://www.nationalgeographic.com/mission/afghanistan-treasures/| url-status = dead| archive-url = https://web.archive.org/web/20080422063344/http://www.nationalgeographic.com/mission/afghanistan-treasures/| archive-date = 2008-04-22| title = Lost Treasures From the National Museum, Afghanistan, Exhibitions, Photos, Information -- National Geographic| website = [[National Geographic Society]]}}</ref> on exhibit at British Museum, London.<ref>{{cite web|url=https://www.independent.co.uk/arts-entertainment/art/news/looted-afghan-treasures-identified-2229207.html?action=gallery&ino=13|title=Looted Afghan treasures identified|date=1 March 2011|website=independent.co.uk|access-date=20 March 2018}}</ref>]]

Some extant examples suggest that in antiquity Cupid and Psyche could have a religious or mystical meaning. [[Ring (jewellery)|Ring]]s bearing their likeness, several of which come from [[Roman Britain]], may have served an [[amulet]]ic purpose.<ref>Jean Bagnall Smith, "Votive Objects and Objects of Votive Significance from Great Walsingham," ''Britannia'' 30 (1999), p. 36.</ref> [[Engraved gem]]s from Britain represent spiritual torment with the image of Cupid torching a butterfly.<ref>Dominic Perring, "'Gnosticism' in Fourth-Century Britain: The Frampton Mosaics Reconsidered," ''Britannia'' 34 (2003), p. 119, citing also M. Henig, "Death and the Maiden: Funerary Symbolism in Daily Life," in ''Roman Life and Art in Britain'', British Archaeological Reports 41 (Oxford, 1977).</ref> The two are also depicted in high relief in mass-produced Roman domestic plaster wares from the 1st to 2nd centuries AD found in excavations at Greco-Bactrian merchant settlements on the ancient Silk Road at Begram in Afghanistan<ref>{{cite web|url=http://www.nationalgeographic.com/mission/afghanistan-treasures/ |archive-url=https://web.archive.org/web/20080422063344/http://www.nationalgeographic.com/mission/afghanistan-treasures/ |url-status=dead |archive-date=April 22, 2008 |title=Audio slide show, online at "Hidden Treasures of Afghanistan," website hosted by National Geographic for US venue of travelling exhibit |publisher=Nationalgeographic.com |date=2002-10-17 |access-date=2013-10-06}}</ref> (see gallery below). The allegorical pairing depicts perfection of human love in integrated embrace of body and soul ('psyche' Greek for butterfly symbol for transcendent immortal life after death). On [[ancient Roman sarcophagi|sarcophagi]], the couple often seem to represent an allegory of love overcoming death.<ref name="autogenerated338"/>

A relief of Cupid and Psyche was displayed at the [[mithraeum]] of [[Capua]], but it is unclear whether it expresses a [[Mithraic mysteries|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]].<ref>R.L. Gordon, "Franz Cumont and the Doctrines of Mithraism," in ''Mithraic Studies'' (Manchester University Press, 1975), p. 239.</ref>

In [[late antiquity]], the couple are often shown in a "chin-chuck" embrace, a gesture of "erotic communion" with a long history.<ref>[[Leo Steinberg]], ''The Sexuality of Christ in Renaissance Art and in Modern Oblivion'' (University of Chicago Press, 1983, 2nd ed. 1996), p. 5.</ref> The rediscovery of freestanding sculptures of the couple influenced several significant works of the modern era.

Other depictions surviving from antiquity include a 2nd-century [[:File:Epoca romana, papiro con amore e psiche, II sec dc.JPG|papyrus illustration]] possibly of the tale,<ref>Gaisser, ''The Fortunes of Apuleius and The Golden Ass,'' p. 20.</ref> and a ceiling [[fresco]] at [[History of Trier#Roman Empire|Trier]] executed during the reign of [[Constantine I]].<ref name="autogenerated338"/>

====Modern era====
[[File:Alphonse Legros - Cupid and Psyche - Google Art Project.jpg|thumb|''Cupid and Psyche'' (1867) by [[Alphonse Legros]], criticized for rendering female nudity as "commonplace"]]

Works of art proliferated after the rediscovery of Apuleius's text, in conjunction with the influence of classical sculpture. In the mid-15th century, Cupid and Psyche became a popular subject for Italian wedding chests ''([[cassone|cassoni]])'',<ref name="autogenerated2"><!--J.H.G.,-->Entry on "Apuleius," ''Classical Tradition,'' p. 57.</ref> particularly those of the [[Medici family|Medici]]. The choice was most likely prompted by Boccaccio's Christianized allegory. The earliest of these ''cassoni'', dated variously to the years 1444–1470,<ref>According to Maria Grazia Pernis and Laurie Schneider Adams, ''Lucrezia Tornabuoni De' Medici and the Medici Family in the Fifteenth Century'' (Peter Lang, 2006), p. 24, the Medici family commissioned a pair illustrating the tale for the wedding of [[Lucrezia Tornabuoni]] and [[Piero di Cosimo de' Medici]] in 1444, owing perhaps to the appeal of Boccaccio's allegory to the intellectual but devout Piero. Other scholars hold the same view, but 1470 is perhaps the more widely accepted date. See Julia Haig Gaisser, ''The Fortunes of Apuleius and The Golden Ass: A Study in Transmission and Reception'' (Princeton University Press, 2008), p. 119, especially note 193 for further sources. In that case, the chests were created for the wedding of [[Lorenzo de' Medici]], Piero's son, and [[Clarice Orsini]].</ref> pictures the narrative in two parts: from Psyche's conception to her abandonment by Cupid; and her wanderings and the happy ending.<ref>Gaisser, ''The Fortunes of Apuleius,'' p. 119.</ref>  With the wedding of [[Peleus]] and [[Thetis]], the subject was the most common choice for specifying paintings of the [[Feast of the Gods (art)|Feast of the Gods]], which were popular from the Renaissance to [[Northern Mannerism]].<ref>Bull, pp. 342-343</ref>

''Cupid and Psyche'' is a rich source for scenarios, and several artists have produced cycles of works based on it, including the frescoes at the [[Villa Farnesina]] (ca. 1518) by [[Raphael]] and his workshop; frescoes at [[Palazzo del Tè]] (1527–28) by [[Giulio Romano (painter)|Giulio Romano]]; [[engraving]]s by the "[[Master of the Die]]" (mid-16th century); and paintings by the [[Pre-Raphaelite Brotherhood|Pre-Raphaelite]] [[Edward Burne-Jones]] (in the 1870s–90s).<ref name="autogenerated2"/> Burne-Jones also executed a series of 47 drawings intended as illustrations for Morris's poem.<ref>Vera Schuster, "The Pre-Raphaelites in Oxford," ''Oxford Art Journal'' 1 (1978), p. 7.</ref> ''Cupid and Psyche'' was the subject of the only cycle of [[printmaking|prints]] created by the German [[Symbolism (arts)|Symbolist]] [[Max Klinger]] (1857–1920) to illustrate a specific story.<ref>J. Kirk T. Varnedoe with Elizabeth Streicher, ''Graphic Works of Max Klinger'' (Dover, 1977), p. 78.</ref>

The special interest in the wedding as a subject in Northern Mannerism seems to spring from a large [[engraving]] of 1587 by [[Hendrik Goltzius]] in [[Haarlem]] of a drawing by [[Bartholomeus Spranger]] (now [[Rijksmuseum]]) that [[Karel van Mander]] had brought back from [[Prague]], where Spranger was court painter to [[Rudolf II, Holy Roman Emperor|Rudolf II]]. ''The Feast of the Gods at the Marriage of Cupid and Psyche'' was so large, at 16 7/8 x 33 5/8 in. (43 x 85.4&nbsp;cm), that it was printed from three different plates. Over 80 figures are shown, placed up in the clouds over a [[world landscape]] that can be glimpsed below. The composition borrows from both Raphael and Giulio Romano's versions.<ref>[http://www.metmuseum.org/toah/works-of-art/2000.113 The engraving at the Metropolitan Museum of Art]; [https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1477730&partId=1&searchText=1852,1211.63&page=1 at the British Museum, in sections]; Bull, 342–343</ref>

The most popular subjects for single paintings or sculpture are the couple alone, or explorations of the figure of Psyche, who is sometimes depicted in compositions that recall the sleeping [[Ariadne]] as she was found by Dionysus.<ref>Marion Lawrence, "Ships, Monsters and Jonah," ''American Journal of Archaeology'' 66.3 (1962), p. 290.</ref> The use of [[Nude (art)|nudity]] or sexuality in portraying Cupid and Psyche sometimes has offended contemporary sensibilities. In the 1840s, the [[American Academy of the Fine Arts|National Academy of Art]]<!--not sure this is the right link--> banned [[William Page (painter)|William Page]]'s ''Cupid and Psyche'', called perhaps "the most erotic painting in nineteenth-century America".<ref>John D'Emilio and Estelle B. Freedman, ''Intimate Matters: A History of Sexuality in America'' (University of Chicago Press, 1988, 1997), 2nd ed., pp. 108, 148.</ref> Classical subject matter might be presented in terms of realistic nudity: in 1867, the female figure in the ''Cupid and Psyche'' of [[Alphonse Legros]] was criticized as a "commonplace naked young woman".<ref>Alison Smith, ''The Victorian Nude: Sexuality, Morality, and Art'' (Manchester University Press, 1996), p. 120.</ref> But during the same period, Cupid and Psyche were also portrayed chastely, as in the [[pastoral]] sculptures ''Psyche'' (1845) by Townsend<!--sic: I can't identify this further yet--> and ''Cupid and Psyche'' (1846) by [[Thomas Uwins]], which were purchased by [[Queen Victoria]] and her [[Albert, Prince Consort|consort Albert]], otherwise keen collectors of nudes in the 1840s and 50s.<ref>Smith, ''The Victorian Nude,'' pp. 71–72.</ref>

Portrayals of Psyche alone are often not confined to illustrating a scene from Apuleius, but may draw on the broader Platonic tradition in which Love was a force that shaped the self. The ''Psyche Abandoned'' of [[Jacques-Louis David]], probably based on La Fontaine's version of the tale, depicts the moment when Psyche, having violated the taboo of looking upon her lover, is abandoned alone on a rock, her nakedness expressing dispossession and the color palette a psychological "divestment". The work has been seen as an "emotional proxy" for the artist's own isolation and desperation during his imprisonment, which resulted from his participation in the [[French Revolution]] and association with [[Robespierre]].<ref>Ewa Lajer-Burchart, ''Necklines: The Art of Jacques-Louis David After the Terror'' (Yale University Press, 1999), p. 54ff., especially p. 61.</ref>

====Sculpture====
'''Source:'''<ref>{{cite web|url=http://museumofclassicalantiquities.tumblr.com/post/52711974153/eros-and-psyche-1st-century-bce-from-pella|title=Eros and Psyche 1st century BCE from Pella,...|website=museumofclassicalantiquities|access-date=20 March 2018}}</ref>
<gallery heights="200" widths="200">
File:Statua di Amore e Psiche.jpg|''[[Cupid and Psyche (Roman sculpture)|Cupid and Psyche]]'' (from an original of 2nd century BC)
File:Altes Museum - Statuengruppe, Amor und Psyche.jpg|''Cupid and Psyche'' (c. 150 AD)
File:0 Psyché ranimée par le baiser de l'Amour - Canova - Louvre 1.JPG|''[[Psyche Revived by Cupid's Kiss]]'' (1793) by [[Antonio Canova]], Louvre
File:BLW Cupid and Psyche (2).jpg|''Cupid and Psyche'' by [[Clodion]] (d. 1814)
File:Thorvaldsen Psyche ANG Berlin.jpg|''Psyche'' by [[Bertel Thorvaldsen]] (d. 1844)
File:Cupid and Psyche by A.Rodin 1885.jpg|''Cupid and Psyche 'Kiss''' (1885) by [[Auguste Rodin]], private collection
</gallery>

====Paintings====
<gallery heights="200" widths="200">
File:Jacopo Zucchi - Amor and Psyche.jpg|''Amor and Psyche'' (1589) by [[Jacopo Zucchi]]
File:Anthonis van Dyck 001.jpg|[[Cupid and Psyche (van Dyck)|''Cupid and Psyche'']] (1639–40) by [[Anthony van Dyck]]: Cupid finds the sleeping Psyche.
File:The enchanted castle.jpg|''[[Landscape with Psyche Outside the Palace of Cupid|Landscape with Psyche Outside the Palace of Cupid (The Enchanted Castle)]]'' (1664) by [[Claude Lorrain]]
File:Louis Jean Francois Lagrenée - Amor and Psyche.jpg|''Amor and Psyche'' (1767) by [[Louis-Jean-François Lagrenée]]
File:Hugh Douglas Hamilton - Cupid and Psyche in the nuptial bower.jpg|''Cupid and Psyche in the nuptial bower'' (1792–93) by [[Hugh Douglas Hamilton]]
File:Alegoría del Amor o Cupido y Psique por Francisco de Goya.jpg|''Allegory of Love, Cupid and Psyche'' (between 1798 and 1805) by [[Francisco Goya|Goya]]
File:Pierre-Paul Prud'hon 003.jpg|''Psyche Lifted Up by Zephyrs'' ([[Romanticism|Romantic]], c. 1800) by [[Pierre-Paul Prud'hon]]
File:Benjamin West - Cupid and Psyche - 2010.44 - Crystal Bridges Museum of American Art.jpg|''Cupid and Psyche'' (1808) by [[Benjamin West]] [[President of the Royal Academy|PRA]]
File:François-Édouard Picot - Cupid and Psyche - WGA17441.jpg|''Psyche Abandoned'' (c. 1817) by François-Édouard Picot
File:Saint-Ours Jean-Pierre-The Reunion of Cupid and Psyche.jpg|''Cupid and Psyche'' (1843) by [[Jean-Pierre Saint-Ours]]
File:Cupid and Psyche by William Page.jpg|''Cupid and Psyche '' (1843) by [[William Page (painter)|William Page]]
File:Brocky, Karoly - Cupid and Psyche (1850-5).jpg|''Cupid and Psyche'' (1850–55) by [[Károly Brocky]] 
File:Edward Burne-Jones (1833-1898) - Cupid Flying away from Psyche (Palace Green Murals) - 1922P193 - Birmingham Museums Trust.jpg|  ''Cupid Flying Away from Psyche'' (between 1872 and 1881) by [[Edward Burne-Jones]]
File:Edward Burne-Jones (1833-1898) - Psyche Receiving the Casket Back (Palace Green Murals) - 1922P197 - Birmingham Museums Trust.jpg|''Psyche Receiving the Casket Back'' (between 1872 and 1881) by Edward Burne-Jones
File:John Reinhard Weguelin – Psyche (1890).jpg|''Psyche'' (1890) by [[John Reinhard Weguelin]]
File:Annie Swynnerton Cupid And Psyche 1891.jpg| ''Cupid and Psyche'' (1891) by [[Annie Swynnerton]]
File:Psyche-Waterhouse.jpg|''Psyche Opening the Golden Box'' (1903) by [[John William Waterhouse]]
File:Edvard Munch - Cupid and Psyche (1907).jpg|''Cupid and Psyche'' (1907) by [[Edvard Munch]]
</gallery>
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