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Thomas D'Urfey, A new song in honour of the glorious assembly at Court on the Queens birthday

Adlington 1903c
Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Apuleius Opera 1588
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Philander 1749
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Voltaire 1762a
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Adlington 1903b
Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Butler 1922
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Boccaccio 1511
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Minturno
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LockPsyche1
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Shadwell Psyche 1
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De la Fontaine, Les Amours de Psyche, 1814
Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Beaumont, Psyche, 1702
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Urfey
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Mary Tighe, Psyche, 1812
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Christoph Wieland, Fragments of Psyche, 1
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William Morris, Earthly Paradise, 1
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William Morris, Zephyrus
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Mattison Morris 2
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Robert Bridges, Eros and Psyche, 1885
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Laprade, Psyche, 1
Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Edward Carpenter, Eros and Psyche, 1900
Resource exploring aspects of The Golden Ass of Apuleius, through works from the Brotherton Collection in Leeds University Library, Special Collections.
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Walter Pater, Marius, 1
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Falla, Psyche, 1
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Louys, Psyche, 1
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The potentially serious nature of Cupid and Psyche allowed the story to be used in genteel, even royal, environments.

Thomas D’Urfey (1653-1723) composed plays, operas and songs, including court songs such as this one. Cupid and Psyche are so well known that their story can here serve as a foil for court celebrations. This song for Queen Anne (1665-1714) favourably compares her glorious appearance with the pageant of all the gods, and Cupid and Psyche themselves at their wedding. Apuleius’ myth becomes a set scene that pales in comparison with the Queen in her beauty and splendour. The final stanza digresses and describes the sword of Prince Eugene of Savoy (1665-1736), which the Queen had given to him as Defender of the Faith. In the end, the song hopes, peace will prevail. Cupid and Psyche’s wedding is tied into a political poem as a symbolism of the peace that the queen and the military commander will bring to England, just as Apuleius’ divine wedding has ended strife and restored order on Olympus.

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