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Cupid was the enemy of chastity, and the poet Ovid opposes him to Diana, the virgin goddess of the hunt who likewise carries a bow but who hates Cupid's passion-provoking arrows. [71] Cupid is also at odds with Apollo, the archer-brother of Diana and patron of poetic inspiration whose love affairs almost always end disastrously. Ovid jokingly ...
Amor Vincit Omnia shows Amor, the Roman Cupid, wearing dark eagle wings, half-sitting on or climbing down from what appears to be a table. Scattered around are the emblems of all human endeavors – violin and lute, armor, coronet, square and compasses, pen and manuscript, bay leaves, and flower, tangled and trampled under Cupid's foot.
Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus). [2] The tale concerns the overcoming of obstacles to the love between Psyche (/ ˈ s aɪ k iː /; Ancient Greek: Ψυχή, lit.
The novel itself is written in a picaresque Roman style, yet Psyche retains her Greek name even though Eros and Aphrodite are called by their Latin names (Cupid and Venus). Also, Cupid is depicted as a young adult, rather than a fat winged child (putto amorino). [28] The story tells of the quest for love and trust between Eros and Psyche.
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For instance, Tatar interprets the episode of Psyche's betrayal of Cupid identity (and, by extension, all other heroines and their animal husbands) as a contrast between the heroine's seeking greater intimacy and knowledge of her husband, and her existent attachments to her family - which causes the separation episode.
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Psyche Revived by Cupid's Kiss (Italian: Amore e Psiche [aˈmoːre e ˈpsiːke]; French: Psyché ranimée par le baiser de l'Amour; Russian: Амур и Психея, romanized: Amúr i Psikhéja) is a sculpture by Italian artist Antonio Canova first commissioned in 1787 by Colonel John Campbell. [1]