Mary Tighe, Psyche or The legend of love, 1812
Facets of Apuleius’ Golden Ass in the Brotherton Collection at Leeds
Apuleius, Opera, 1588
Philander, The Golden Calf, 1749
Voltaire, La Pucelle d'Orleans, 1762
William Adlington, Cupid and Psyche, 1903
Harold Edgeworth Butler, Cupid and Psyche, 1922
Boccaccio, 1511
Minturno, 1559
Thomas Shadwell, Psyche, 1675
Thomas Shadwell, Psyche, 1675 (2)
Jean de la Fontaine, Les Amours de Psyché et de Cupidon, 1814
Joseph Beaumont, Psyche, or love's mystery, 1702
Thomas D'Urfey, A new song in honour of the glorious assembly at Court on the Queens birthday
Mary Tighe, Psyche or The legend of love, 1812
Christoph Wieland, Fragments of Psyche, 1767
William Morris, The earthly paradise, 1868-70
A note by William Morris on his aims in founding the Kelmscott Press, 1898
William Morris collected by Alf Mattison
Robert Bridges, Eros and Psyche, 1885
Victor de Laprade, Psyché, 1857
Edward Carpenter, The story of Eros and Psyche, 1900
Walter Pater, Marius the Epicurean, 1885
Georges Jean-Aubry and Manuel de Falla, Psyché : poème, 1927
Pierre Louÿs, Psyché, 1927
Philosophical and religious adaptations of the story, often dedicated to female readers, enabled women authors to interpret Cupid and Psyche in their own fashion.
Mary Blachford Tighe (1772-1810) wrote a Spenserian adaptation of Cupid and Psyche in six cantos: Psyche or The Legend of Love, which was at first privately published in 1805. The first two cantos are closely based on Apuleius’ story, whereas cantos III-VI are a much freer response to the story; after the couple’s separation, Psyche goes on a quest, together with Cupid in disguise, to reconcile his mother to their marriage. On their journey they encounter personifications of emotions, such as Jealousy or Passion, who either help or hinder their quest. In the end, Cupid and Psyche are reunited and happily married.
The poem brought Tighe fame and the nickname “Psyche”, identifying the author with her subject, a conflation ironically frequent for her source text, too – already St. Augustine of Hippo (354-430) mistook the author Apuleius for his fictional first person narrator Lucius, and claimed that the author had experienced the novel’s story of adventure and witchcraft himself, and Lucius and Apuleius have been frequently conflated.
After Tighe’s early death from tuberculosis, her book went through frequent reprints, one of which was admiringly read by the young John Keats. The Brotherton has several of them
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