Comparing Cupid And Psyche

Mythology is something that has always gone hand in hand with human development, so it must be addressed in relation to the human psychology as well as the impact that human culture has on an individual’s psychology. In order to interpret mythology accurately, a variety of psychological approaches must be used in order to guarantee an adequate understanding of the material. The most useful approaches originate from the schools of thought initiated by Sigmund Freud and Caldwell’s work in theoretical psychology, and they are very helpful when used to interpret Hesiod’s myths The Sacred Marriage of Uranus and Gaia and Their Offspring/The Castration of Uranus and the Birth of Aphrodite (M&L, p64-66, 72-73)

The deeper meaning of “The Metamorphosis”, by Frank Kafka, can be interpreted in many ways depending on critical theory is used to examine it. From a feminist criticism, one can observe how Gregor’s dominance as a male diminishes after he becomes a bug as his sister’s strength and role in the family grows stronger. From a biographical criticism, one can compare and contrast the traits of Gregor and the people around him with that of Kafka’s own life and his relationships. However, the focus of this essay will be applying a psychoanalytical criticism to the characters in “The Metamorphosis”, using the studies of Sigmund Freud to approach

It is often—in books, poems, paintings, and sculptures—that one hears of and sees the goddess of love. But when is it that one hears of the god? In Greek mythology, Eros is the god of love, and a god who is many times overlooked. In Robert Bridges’ “EPÙÓ” and Anne Stevenson’s “Eros”, the idea that Eros is overlooked is portrayed, but in two separate ways. Techniques such as diction, imagery, and tone are used to help convey the idea.

The Metamorphosis, a story written by Franz Kafka, is about the sudden transformation of Gregor Samsa into a bug. The narrator describes how Gregor’s transformation negatively affects his work, family, and social relationships; it also takes readers through Gregor’s journey of trying to regain his humanity. Throughout the story, Gregor denies his loss of humanity and attempts to preserve his previous work and family relationships because these relationships make up a great deal of his identity. Throughout his life as a bug, Gregor realizes just how much of an influence his work and family have on who he is, and life becomes difficult for him now that he is letting down both his family and his

Overpowered by her own curiosity, Psyche, no sooner than she had opened the flask, fell into a deathly sleep after inhaling the deathly vapors (Closer Look at Psyche). In sculpting his masterpiece of this genre, Canova managed to combine the classical mode with consummate eroticism when he captured the lover’s embrace. Cupid and Psyche are turned towards each other in sensual love, and Canova had succeeded in presenting a highly expressive treatment of the theme of love from Greek mythology. The upward ranged wings of Amor emphasize the divine, about to embrace mortal Psyche. The fulfillment of the love between the two is tangibly near (Cupid and Psyche).

Frank Kafka is considered one of the most influential writers of all time. Helmut Richter would agree with this statement. Richter agreed that Kafka was a very prominent figure in world literature and was amazed by his mechanics and word usage. I feel that his essay is supportive of Kafka’s writing, but also leaves out many important details in its brevity. Richter did not include Kafka’s flaws and tendencies in his essay.

The famous quote “I do not believe in the God of theology who rewards good and punishes evil” by Albert Einstein. This quote has a lot to do with both short stories Cupid and Psyche and “Ashputtle”. Each story was related to how the villains were extremely cruel to the main characters. The evil relatives made them go through difficult tasks that they shouldn’t have to face alone but did. The girls both had to face the same things, but in different stories and had their happy ever after at the end. But toward the end of the stories there were some differences on the two of how each evil relatives got punished. Both stories refect on how good is rewarded and evil is punished

     C.S. Lewis’s book Till We Have Faces is about the myth of Psyche and Cupid. However, in the original tale Psyche is a very naive girl who is greatly influenced by her two wicked older sisters. In this rendition of the tale, Psyche’s sisters are not evil and Psyche is not a mindless fool as she has been portrayed in earlier tales.

The opinion and image that most people have of Eros, the god of love in Greek mythology, often reflect the view and representation that people have for love itself. Since love is such a puzzling matter, people quickly form an ambivalent opinion toward Eros. Robert Bridges and Anne Stevenson reveal these uncertain feelings toward Eros in their poems directed to the Greek god of love through their diction, allowing readers to notice similarities and differences in their works. Although Bridges and Stevenson expose a level of uncertainty and sympathy toward Eros in their poems, both poets different inquisitive interpretations of Eros divulge their true and differing feelings toward

The title of Sarah B. Pomeroy's book on women in antiquity is a summary of the main categories of females in the literary imagination and the societies of ancient Greece and Rome, over a period of fifteen hundred years. Beginning with goddesses, Pomery retells some Greek myths, outlining the social functions of female Olympians – the goddesses are archetypical images of human females, as envisioned by males. Desirable characteristics among a number of females rather than their concentration in one being are appropriate to a patriarchal society. Demosthenes states in the fourth century B.C. this ideal among mortal men, "We have mistresses for our enjoyment, concubines to serve our person and wives for the bearing of legitimate children (Pomery 1995)." Pomery’s goal in writing this book was to detail and outline the true significance of women in all other their roles in antiquity.

In the world of Ancient Greece, a large array of deities were worshipped. Each god had their own forms of identification in which they used to express themselves. This includes things such as personality, style, sexuality, and many other things. One of these forms of expression was gender. The Greeks seemed to focus more on the two typical genders, which are male and female. Some Greek gods seemed to play into certain gender roles, but others portrayed traits of the opposite sex. In this paper, I will be analysing the possibility that the Greeks believed the female and male genders were closely connected and that is why many of the gods are described with blended aspects of gender.

Without the constraints of external forces, is human nature inherently good or evil? In Franz Kafka’s novella, The Metamorphosis, Gregor Samsa’s transformation into a "monstrous vermin” serves as a window into the human psyche. Through lack of obligations, decreased sense of shame, and increased sexual drive, Kafka reveals Gregor’s relationship to the outside world weaken, as his internal instincts grow stronger. Kafka utilizes Gregor’s transformation as a symbol to show the dangerous potential of the human “id”, a term coined by Sigmund Freud, to break down social norms. This psychological venture reveals humanity’s true instincts as animalistic, when not contained through personal and societal pressures.

The Metamorphosis by Franz Kafka is a novella that begins with an absurd concept. A man wakes up one morning to find himself transformed into a giant insect. While this concept for a story is certainly absurd, Kafka contrasts this plot with a rather dull, plain narrative. It may initially seem novel to explain a ridiculous situation in a simple manner, but this causes the novella to be quite boring.

In calling love “a serious mental disease,” Plato inspired centuries of authors, doctors, and philosophers. Unlike romantic comedy movies and the Top 40 pop songs chart, which idolize love, literature frequently portrays it as a sickness. Both love and mental illness affect brain chemistry, mood, and behavior. In pieces such as Euripides’ Medea, symptoms of love range from mental illness-like ailments to physical manifestations such as a vanishing appetite, concentration, and apparent sanity. In Longus’ work, love is described as having similar traits. Throughout the story of Daphnis and Chloe’s pastoral romance, love drives both of them mad with longing. Love amplifies their innocent feelings for each other, resulting in a disorienting combination of depression and mania. The affliction goes deeper; their total devotion to each other and pastoral

The term “Eros,” referring to passionate love in English, has long been the mainstream of themes in drama, literature, arts, and cinematic media. The fascinating power of love has been exhaustively publicized, and the pursuit of love is diffused in streets and lanes. Conversely, in ancient times, many poets, especially Virgil, Ovid and Apuleius, described eros as such an evil spirit that it will destroy the female soul thoroughly, except for the one in Apuleius’ story of Cupid and Psyche. Even if taking into account the historical background of a patriarchal community and therefore the esteemed male dominance, the particular case of Psyche’s surviving and even thriving her encounter with eros