Cupid and Psyche - Later Adaptations

Later Adaptations

William Adlington translated the tale into English in 1566.

At the conclusion of Comus (1634), the poet John Milton alluded to the story of Cupid and Psyche.

"Celestial Cupid, her famed son, advanced,

Holds his dear Psyche sweet entranced,

After her wandering labours long,

Till free consent the gods among

Make her his eternal bride;

And from her fair unspotted side

Two blissful twins are to be born,

Youth and Joy; so Jove hath sworn."

The poet T. K. Harvey wrote:

"They wove bright fables in the days of old,

When reason borrowed fancy's painted wings;

When truth's clear river flowed o'er sands of gold,

And told in song its high and mystic things!

And such the sweet and solemn tale of her

The pilgrim heart, to whom a dream was given,

That led her through the world,– Love's worshipper,–

To seek on earth for him whose home was heaven!

"In the full city,– by the haunted fount,–

Through the dim grotto's tracery of spars,–

'Mid the pine temples, on the moonlit mount,

Where silence sits to listen to the stars;

In the deep glade where dwells the brooding dove,

The painted valley, and the scented air,

She heard far echoes of the voice of Love,

And found his footsteps' traces everywhere.

"But nevermore they met! since doubts and fears,

Those phantom shapes that haunt and blight the earth,

Had come 'twixt her, a child of sin and tears,

And that bright spirit of immortal birth;

Until her pining soul and weeping eyes

Had learned to seek him only in the skies;

Till wings unto the weary heart were given,

And she became Love's angel bride in heaven!"

Shackerley Marmion wrote a verse version of the Apuleius story called Cupid and Psyche which was published in 1637.

Mary Tighe in her poem Psyche, first published in 1805, explains the origin of Cupid's love for Psyche. She adds 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 some of the bitter water on Psyche's lips and prepares also to pierce her with an arrow:

Nor yet content, he from his quiver drew,

Sharpened with skill divine, a shining dart:

No need had he for bow, since thus too true

His hand might wound her all-exposed heart;

Yet her fair side he touched with gentlest art,

And half relenting on her beauties gazed;

Just then awaking with a sudden start

Her opening eye in humid lustre blazed,

Unseen he still remained, enchanted and amazed.

The dart which in his hand now trembling stood,

As o'er the couch he bent with ravished eye,

Drew with its daring point celestial blood

From his smooth neck's unblemished ivory:

Heedless of this, but with a pitying sigh

The evil done now anxious to repair,

He shed in haste the balmy drops of joy

O'er all the silky ringlets of her hair;

Then stretched his plumes divine, and breathed celestial air.

In the later part of her tale, Tighe's Venus only asks one task of Psyche, to bring her the forbidden water, but in performing this task Tighe's Psyche wanders into a country bordering on Spenser's 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 was appreciated by William Wordsworth and also an early influence on John Keats, whose short Ode to Psyche appeared in 1820.

William Morris retold the story in verse in The Earthly Paradise (1868–70). Robert Bridges wrote Eros and Psyche: A Narrative Poem in Twelve Measures (1885; 1894). A full prose adaptation was included as part of Walter Pater's novel Marius the Epicurean in 1885. Josephine Preston Peabody wrote a version for children in her Old Greek Folk Stories Told Anew (1897). Thomas Bulfinch wrote a short adaptation for his Age of Fable which borrowed Tighe's account of Cupid's self-wounding. Sylvia Townsend Warner transferred the story to Victorian England in her novel The True Heart (1929), though few readers made the connection till she pointed it out herself. C.S. Lewis retold the story in his 1956 book Till We Have Faces. Carol Gilligan uses the story as the basis for much of her analysis of love and relationships in The Birth of Pleasure (Knopf, 2002).

'Cupid and Psyche' was the title of a ballet choreographed by Frederick Ashton with music by Lord Berners and decor by Sir Francis Rose, first performed by the Sadler's Wells Ballet (now Royal Ballet) on 27 April 1939, with Frank Staff as Cupid, Julia Farron as Psyche, Michael Somes as Pan and June Brae as Venus.