Robert Bridges, Eros and Psyche, 1885
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
Robert Seymour Bridges (1844-1930) was poet laureate from 1913 to his death. Originally a physician, he had to retire from his profession in 1882 because of ill health. He dedicated the rest of his life to poetry. As he was interested in the Classics, his work included masques on themes like Prometheus and Demeter, but he also composed sonnets and religious hymns.
His Eros and Psyche is a narrative poem, divided into twelve cantos, each representing a month of the year. Each canto has the number of stanzas of the relevant month’s days. Bridges adds a note to the end of the poem (p. 156-158) in which he claims that ‘the beautiful story is well known, and the version of Apuleius has been simply followed’ (156), even though he admits to some learned additions: 'the addition made to Homer’s description of Hera’s dress is an orientalism of the present writer'. He never, he says, read an English version of the story (i.e. not even Adlington’s widely available translation or Morris’ Earthly Paradise, which follows a comparable monthly structure). Many allusions to other ancient and more modern authors, e.g. the citation from Dante, Purgatorio canto XVI, make Bridges’ a learned, intertextual work.
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