The Golden Ass

The Metamorphoses of Apuleius, which Augustine of Hippo referred to as The Golden Ass (Asinus aureus),[1] is the only ancient Roman novel in Latin to survive in its entirety.[2]

The protagonist of the novel is called Lucius.[3] At the end of the novel, he is revealed to be from Madaurus,[4] the hometown of Apuleius himself. The plot revolves around the protagonist's curiosity (curiositas) and insatiable desire to see and practice magic. While trying to perform a spell to transform into a bird, he is accidentally transformed into an ass. This leads to a long journey, literal and metaphorical, filled with inset tales. He finally finds salvation through the intervention of the goddess Isis, whose cult he joins.

The Golden Ass
Apuleius1650
Title page from John Price's Latin edition of Apuleius' novel Metamorphoses, or the Golden Ass (Gouda, Netherlands, 1650)
AuthorApuleius
CountryRoman Empire
LanguageLatin
GenrePicaresque novel
Publication date
Late 2nd century AD

Origin

Apuleius Metamorphoses c. 65
Lucius takes human form, in a 1345 illustration of the Metamorphoses (ms. Vat. Lat. 2194, Biblioteca Apostolica Vaticana).

The date of composition of the Metamorphoses is uncertain. It has variously been considered by scholars as a youthful work preceding Apuleius' Apology of 158/9 AD, or as the climax of his literary career and perhaps as late as the 170s or 180s.[5] Apuleius adapted the story from a Greek original of which the author's name is said to be Lucius of Patrae (the name of the lead character and narrator). This Greek text has been lost, but there is Λούκιος ἢ ὄνος (Loúkios è ónos, Loukios/Lucius or The Ass), a similar tale of disputed authorship, traditionally attributed to Lucian of Samosata, a contemporary of Apuleius. This surviving Greek text appears to be an abridgement or epitome of "Lucius of Patrae's" text. Possibly the original lost story was written by Lucian and the abridged version was later transmitted under his name.

Plot

Book One

The prologue establishes an audience and a speaker, who defines himself by location, education, and occupation. The narrator journeys to Thessaly on business. On the way, he runs into Aristomenes and an unnamed traveler. The unnamed traveler refuses to believe Aristomenes' story. The narrator scolds the unnamed traveler and tells a short story about a sword swallower. He promises Aristomenes a free lunch if he will retell his tale. The narrator believes Aristomenes' tale and becomes more eager to learn about magic. The narrator arrives at Hypata, where he stays with Milo, a family friend and miser, and his wife Pamphile. Photis, Milo's servant, takes the narrator to the baths, after which the narrator goes to the marketplace. There, he buys some fish and runs into his old friend Pytheas, who is now a magistrate. Pytheas reveals the narrator's name as Lucius. Pytheas says that Lucius overpaid for the fish and humiliates the fish-monger by trampling on the fish. Lucius returns to Milo's house, hungry and empty-handed. Milo asks Lucius about his life, his friends, and his wanderings. Lucius goes to sleep hungry.

Book Two

The next morning, Lucius meets his aunt Byrrhena in the town, and she warns him that Milo's wife is an evil witch who will kill Lucius. Lucius, however, is interested in becoming a witch himself. He then returns to Milo's house, where he repeatedly makes love to the slave-girl Fotis (also spelled Photis[6]). The next day, Lucius goes to his aunt's home for dinner, and there meets Thelyphron, who relates his tale of how witches cut off his nose and ears. After the meal, Lucius drunkenly returns to Milo's house in the dark, where he encounters three robbers, whom he soon slays before retiring to bed.

Book Three

Lucius Spots the Transformation.jpeg
Lucius spies Milo's wife transforming into a bird. Illustration by Jean de Bosschère

The next morning, Lucius is abruptly awoken and arrested for the murder of the three men. He is taken to court where he is laughed at constantly and witnesses are brought against him. They are just about to announce his guilt when the widow demands to bring out the dead bodies; but when the three bodies of the murdered men are revealed, they turn out to be puffed-up wineskins. It then turns out that it was a prank played by the town upon Lucius, to celebrate their annual Festival of Laughter. Later that day, Lucius and Photis watch Milo's wife perform her witchcraft and transform herself into a bird. Attempting to copy her, Lucius accidentally turns himself into an ass, at which point Photis tells him that the only way for him to return to his human state is to eat a rose. She puts him in the stable for the night and promises to bring him roses in the morning, but during the night Milo's house is raided by a band of thieves, who steal Lucius the ass, load him up with their plunder, and leave with him.

Book Four

On a break in his journey with the bandits, Lucius the ass trots over to a garden to munch on what seem to be roses (but are actually poisonous rose-laurels) when he is beaten by the gardener and chased by dogs. The thieves reclaim him and he is forced to go along with them; they talk about how their leader Thrasileon has been killed while dressed as a bear. The thieves then kidnap a young woman, Charite, who is housed in a cave with Lucius the ass. Charite starts crying, so an elderly woman who is in league with the thieves begins to tell her the story of Cupid and Psyche.

Psyche is the most beautiful woman on earth, and Venus jealously arranges for Psyche's destruction, ordering her son Cupid to arrange for her to fall in love with a worthless wretch. An oracle tells Psyche's parents to expose her on a mountain peak, where she will become the bride of a powerful, monstrous being. Psyche is left on the mountain, and carried away by a gentle wind.

Book Five

The elderly woman continues telling the story of Cupid and Psyche. Cupid, Venus's son, secretly preserves Psyche; Cupid becomes Psyche's mysterious husband, who is invisible to her by day and only visits her at night. Psyche's jealous sisters arouse her curiosity and fear about her husband's identity; Psyche, against Cupid's commands, looks at him by lamplight at night; Cupid abandons Psyche, who wanders in search of him, and takes revenge on her wicked sisters.

Book Six

The elderly woman finishes telling the story of Cupid and Psyche, as Psyche is forced to perform various tasks for Venus (including an errand to the underworld) with the help of Cupid and an assortment of friendly creatures, and is finally reunited with her husband. Lucius the ass and Charite escape from the cave but they are caught by the thieves, and sentenced to death.

Charite kisses.jpeg
Charitë embraces Tlepolemus while Lucius looks on. From an illustration by Jean de Bosschère

Book Seven

A man appears to the thieves and announces that he is the renowned thief Haemus the Thracian, who suggests that they should not kill the captives but sell them. Haemus later reveals himself secretly to Charite as her fiancé Tlepolemus, and gets all of the thieves drunk. When they are asleep he slays them all. Tlepolemus, Charite and Lucius the ass safely escape back to the town. Once there, the ass is entrusted to a horrid boy who torments him but the boy is later killed by a she-bear. Enraged, the boy's mother plans to kill the ass.

Book Eight

A man arrives at the mother's house and announces that Tlepolemus and Charite are dead, caused by the scheming of the evil Thrasillus who wants Charite to marry him. After hearing the news of their master's death, the slaves run away, taking the ass Lucius with them. The large group of travelling slaves is mistaken for a band of robbers and attacked by farmhands of a rich estate. Several other misfortunes befall the travelers until they reach a village. Lucius as the narrator often digresses from the plot in order to recount several scandal-filled stories that he learns of during his journey. Lucius is eventually sold to a catamite priest. He is entrusted with carrying the statue of a goddess on his back while he follows around the group of sinful priests. While engaging in lewd activity with a local boy, the group of priests is discovered by a man in search of a stolen ass who mistakes Lucius' braying for that of his own animal. The priests flee to a new city where they are well received by one of its chief citizens. They are preparing to dine when his cook realizes that the meat that was to be served was stolen by a dog. The cook, at the suggestion of his wife, prepares to kill Lucius in order to serve his meat instead.

Lucius Encounters the Murderous Wife
Lucius encounters the murderous wife. Illustration by Jean de Bosschère

Book Nine

Lucius' untimely escape from the cook coincides with an attack by rabid dogs, and his wild behavior is attributed to their viral bites. The men barricade him in a room until it is decided that he is no longer infected. The band of priests packs up and moves out. The narrative is interrupted by The Tale of the Wife's Tub. After the arrest of the priests Lucius is sold into labor, driving a baker's mill-wheel. Lucius, though bemoaning his labor as an ass, also realizes that this state has allowed him to hear many novel things with his long ass-ears. The Tale of the Jealous Husband and The Tale of the Fuller's Wife mark a break in the narrative. The theme of the two intervening stories is adultery, and the text appropriately follows with the adultery of the baker's wife and the subsequent murder of the baker. Lucius the ass is then auctioned off to a farmer. The Tale of the Oppressive Landlord is here told. The farmer duly assaults a legionary who makes advances on his ass (Lucius), but he is found out and jailed.

Lucius is returned to human form at the procession of Isis
Lucius is returned to human form during the procession of Isis. From an Illustration by Jean de Bosschère

Book Ten

Lucius comes into the legionary's possession, and after lodging with a decurion Lucius recounts Tale of the Murderous Wife. He is then sold to two brothers, a confectioner and a cook, who treated him kindly. When they go out Lucius secretly eats his fill of their food. At first a source of vexation, when the ass was discovered to be the one behind the disappearing food it was much laughed at and celebrated. Again he was sold, and he was taught many amusing tricks. Rumor spread, and great fame came to the ass and his master. As it happened, a woman was so enamored of the sideshow ass that she paid off his keeper and took him to bed with her. The Tale of the Jealous Wife is aired. The murderess depicted in this tale is precisely she whom Lucius is made to mate with at the Shows. After an enactment of the judgment of Paris and a brief but important digression, the time comes for Lucius to make his much awaited appearance. At the last moment he decides against this, fearing for his life, and he runs away to Cenchreae eventually to nap on the beach.

Book Eleven

Lucius wakes up in a panic during the first watch of the night. Considering Fate to be done tormenting him, he takes the opportunity to purify himself by seven consecutive immersions in the sea. He then offers a prayer to the Queen of Heaven, for his return to human form, citing all the various names the goddess is known by to people everywhere (Venus, Ceres, Paphos, Proserpine, etc.). The Queen of Heaven appears in a vision to him and explains to him how he can be returned to human form by eating the crown of roses that will be held by one of her priests during a religious procession the following day. In return for his redemption, Lucius is expected to be initiated through the Navigium Isidis into Isis' priesthood (Isis being the Queen of Heaven's true name, according to her). Lucius follows her instructions and is returned to human form and, at length, initiated into her priesthood. Lucius is then sent to his ancestral home, Rome, where he continues to worship Isis, under the local name, Campensis. After a time, he is visited once more by the goddess who speaks again of mysteries and holy rites which Lucius comes to understand as a command to be initiated into the cult of Isis. He does so. Shortly afterwards, he receives a third vision. Though he is confused, the god appears to him and reassures him that he is much blessed and that he is to become once more initiated that he might supplicate in Rome as well. The story concludes with the goddess, Isis, appearing to Lucius and declaring that Lucius shall rise to a prominent position in the legal profession and that he shall be appointed to the College of Pastophori that he might serve Osiris and Isis' mysteries. Lucius is so happy that he goes about freely exposing his bald head.

Inset stories

Similar to other picaresque novels, The Golden Ass features several shorter stories told by characters encountered by the protagonist. Some act as independent short stories, while others interlock with the original novel's plot developments.

Aristomenes' Tale

At the beginning of Book One, Lucius encounters two men arguing on the road about the truth of one's story. Lucius is interested, and offers the teller a free lunch for his tale.

Aristomenes goes on business for cheese and he runs into his friend Socrates, who is disheveled and emaciated. Aristomenes clothes Socrates and takes him to the bathhouse. Aristomenes berates Socrates for leaving his family. While they're eating lunch, Socrates tells about his affair with Meroë. Socrates tells Aristomenes that Meroë is an ugly witch who turns her ex-lovers into rather unfortunate animals. Aristomenes doesn't believe Socrates' tale but is nevertheless afraid. Aristomenes barricades the door and they both go to bed. In the middle of the night, Meroë and Panthia break in, cut open Socrates, drain his blood, rip out his heart, and replace it with a sponge. Before leaving, they urinate on Aristomenes. The witches spare Aristomenes because they want him to bury Socrates in the land. Aristomenes fears that he will be blamed for the death of his friend and attempts to hang himself, but is comically stopped when the rope is revealed to be too rotten to support his weight. In the morning, Socrates wakes up and everything seems to be normal. They continue travelling and reach a stream, where Socrates bends to take a drink, which causes the sponge to fall out and him to die. Aristomenes buries Socrates in the ground, and then proceeds on his way.

Thelyphron's Tale

In Book Two, Thelyphron hesitantly relates a story requested at a dinner party that was previously popular with his friends:

While a University student, Thelyphron partakes in many wanderings and eventually runs out of funds. At Larissa, he encounters a large sum being offered to watch over a corpse for the night. When he asks, a citizen tells him that shape-shifting witches are quite common in the area, using pieces of human flesh to fuel incantations. Thelyphron takes the job for a thousand drachme and is warned to stay very alert all through the night. The widow is at first hesitant, taking inventory of the body's intact parts. Thelyphron requests a meal and some wine, to which she promptly refuses and leaves him with a lamp for the night. A weasel enters the room and Thelyphron quickly chases it out, then falls into a deep sleep. At dawn, Thelyphron awakes and to his relief finds the body intact. The widow enters, and calls for Thelyphron to be paid, satisfied with the intact corpse. Thanking the widow, Thelyphron is suddenly attacked by the crowd and narrowly escapes. He witnesses an elder of the town approach the townspeople and claim that the widow had poisoned her husband to cover up a love affair. The widow protests, and a necromancer is called to bring back the deceased for the only truly reliable testimony. The corpse awakes, and affirms the widow's guilt. The corpse does thank Thelyphron for his trouble; during the night the witches entered as small animals, putting Thelyphron to sleep and stealing pieces of his ears and nose. The witches cleverly replace the missing flesh with wax to delay discovery. Thelyphron touches his nose and ears to find wax fall out of where they once were. The crowd laughs at Thelyphron's humiliation.

Psyche et LAmour
Psyche et L'Amour (Psyche and Amor). William-Adolphe Bouguereau, 1889

Tale of Cupid and Psyche

In Book Four, an elderly woman tells the story to comfort the bandits' captives. The story is continued through Books Five and Six.

Psyche, the most beautiful woman in the world, is envied by her family as well as by Venus. An oracle of Venus demands she be sent to a mountaintop and wed to a murderous beast. Sent by Venus to destroy her, Cupid falls in love and flies her away to his castle. There she is directed to never seek to see the face of her husband, who visits and makes love to her in the dark of night. Eventually, Psyche wishes to see her sisters, who jealously demand she seek to discover the identity of her husband. That night, Psyche discovers her husband is Cupid while he is sleeping, but wakes and scars him with her candle. Infuriated, he flies to heaven and leaves her banished from her castle. In attempted atonement, Psyche seeks the temple of Venus and offers herself as a slave. Venus assigns Psyche four impossible tasks. First, she is commanded to sort through a great hill of mixed grains. In pity, many ants aid her in completing the task. Next, she is commanded to retrieve wool of the dangerous golden sheep. A river god aids Psyche and tells her to gather clumps of wool from thorn bushes nearby. Venus next requests water from a cleft high beyond mortal reach. An eagle gathers the water for Psyche. Next, Psyche is demanded to seek some beauty from Proserpina, Queen of the Underworld. Attempting to kill herself to reach the underworld, Psyche ascends a great tower and prepares to throw herself down. The tower speaks, and teaches Psyche the way of the underworld. Psyche retrieves the beauty in a box, and, hoping to gain the approval of her husband, opens the box to use a little. She is put into a coma. Cupid rescues her, and begs Jupiter that she may become immortal. Psyche is granted Ambrosia, and the two are forever united.

The story is the best-known of those in The Golden Ass and frequently appears in or is referred to directly in later literature.

Tale of the Wife's Tub

The Wife's Tub
The Wife and her lover near the Tub. Illustration by Jean de Bosschère

In the course of a visit to an inn in Book Nine, a smith recounts an anecdote concerning his wife's deceit:

During the day, her husband absent at his labors, the smith's wife is engaged in an adulterous affair. One day, however, the smith, work finished well ahead of schedule, returns home prematurely — obviously to his wife's great consternation. Panicked, the faithless woman hides her lover in an old tub. After absorbing his spouse's efforts at distraction, which take the form of bitter reproaches that his coming back so early betokens a laziness that can only worsen their poverty, the smith announces that he has sold the tub for six drachmae; to this his wife responds by saying that she has in fact already sold it for seven, and has sent the buyer into the tub to inspect it. Emerging, the lover complains that his supposed purchase is in need of a proper scrubbing if he is to close the deal, so the cuckolded smith gets a candle and flips the tub to clean it from underneath. The canny adulteress then lies atop of the tub and, her lover pleasuring her the while, instructs her hapless husband as to where he should apply his energies. To add insult to injury, the ill-used man eventually has to deliver the tub to the lover's house himself.

The Tale of the Jealous Husband

In Book Nine, a baker's wife of poor reputation is advised by a female 'confidant' to be wary of choosing her lover, suggesting she find one very strong of body and will. She relates the story of one of the wife's previous school friends:

Barbarus, an overbearing husband, is forced leave on a business trip, and commands his slave, Myrmex, to watch his wife, Aretë, closely to assure she is being faithful during his time away. Barbarus tells Myrmex that any failure will result in his death. Myrmex is so intimidated that he does not let Aretë out of his sight. Aretë's looks, however, charm Philesietaerus who vows to go to any lengths to gain her love. Philesietaerus bribes Myrmex with thirty gold pieces and the promise of his protection for allowing him a night with Aretë. Becoming obsessed with gold, Myrmex delivers the message to Aretë and Philesietaerus pays Myrmex a further ten pieces. While Aretë and Philesietaerus are making love, Barbarus returns but is locked out of the house. Philesietaerus leaves in a hurry, leaving behind his shoes. Barbarus does not notice the strange shoes until the morning, at which point he chains Myrmex's hands and drags him through town, screaming, while looking for the shoes' owner. Philesietaerus spots the two, runs up, and with great confidence shouts at Myrmex, accusing him of stealing his shoes. Barbarus allows Myrmex to live, but beats him for the 'theft'.

The Tale of the Fuller's Wife

In Book Nine the baker's wife attempts to hide her lover from her husband, and entertains to her husband's story of the Fuller:

While coming home with the Baker for supper, the Fuller interrupts his wife's love-making with a lover. She frantically attempts to hide her lover in a drying cage in the ceiling, hidden by hanging clothes soaked in sulphur. The lover begins to sneeze, and at first the Fuller excuses his wife. After a few sneezes, the Fuller gets up and turns over the cage to find the lover waiting. The Fuller is talked out of beating the young man to death by the Baker, who points out that the young man will shortly die from the sulphur fumes if left in the cage. The Fuller agrees and returns the lover to the cage.

The tale is used to contrast the earlier tale told to the Baker's wife of high suspicion and quick judgments of character by her 'auntie' with the overly naive descriptions of nefarious people by her husband.

Tale of the Murderous Wife

In Book Ten a woman condemned to public humiliation with Lucius tells him her crimes:

A man goes on a journey, leaving his pregnant wife and infant son. He commands his wife that if she bears a daughter, the child is to be killed. The child is indeed a daughter, and in pity, the mother convinces her poor neighbours to raise her. Her daughter grows up ignorant of her origin, and when she reaches a marriageable age, the mother tells her son to deliver her daughter's dowry. The son begins preparation to marry the girl off to a friend, and lets her into his home under the guise of her being an orphan to all but the two of them. His wife, however, is unaware the girl is his sister, and believes he keeps her as a mistress. His wife steals her husband's signet ring and visits their country home accompanied by a group of slaves. She sends a slave with the signet to fetch the girl and bring her to the country home. The girl, aware that the husband is her brother, responds immediately, and on arrival at the country home is flogged by the wife's slaves, and put to death by a torch placed 'between her thighs'. The girl's brother takes the news and falls gravely ill. Aware of suspicions around her, his wife asks a corrupt doctor for instant poison. Accompanied by the doctor, she brings the poison to her husband in bed. Finding him surrounded by friends, she first tricks the doctor into drinking from the cup to prove to her husband the drink is benign, and giving him the remainder. Unable to return home in time to seek an antidote, the doctor dies telling his wife what happened and to at least collect a payment for the poison. The doctor's widow asks for payment but first offers the wife the remainder of her husband's collection of poisons. Finding that her daughter is next of kin to her husband for inheritance, the wife prepares a poison for both the doctor's widow and her daughter. The doctor's widow recognizes early the symptoms of the poison and rushes to the Governor's Home. She tells the Governor the whole of the connected murders and dies. The wife is sentenced to death by wild beasts and to have public intercourse with Lucius the ass.

Overview

George Cruikshank - Tristram Shandy, Plate IV. The long-nosed Stranger of Strasburg
The episodic structure of The Golden Ass inspired the style of humorous travel in picaresque novels such as Tristram Shandy (pictured) and Tom Jones.

The text is a precursor to the literary genre of the episodic picaresque novel, in which Quevedo, Rabelais, Boccaccio, Cervantes, Voltaire, Defoe and many others have followed. It is an imaginative, irreverent, and amusing work that relates the ludicrous adventures of one Lucius, a virile young man who is obsessed with magic. Finding himself in Thessaly, the "birthplace of magic," Lucius eagerly seeks an opportunity to see magic being used. His overenthusiasm leads to his accidental transformation into an ass. In this guise, Lucius, a member of the Roman country aristocracy, is forced to witness and share the miseries of slaves and destitute freemen who are reduced, like Lucius, to being little more than beasts of burden by their exploitation at the hands of wealthy landowners.

The Golden Ass is the only surviving work of literature from the ancient Greco-Roman world to examine, from a first-hand perspective, the abhorrent condition of the lower classes. Yet despite its serious subject matter, the novel remains imaginative, witty, and often sexually explicit. Numerous amusing stories, many of which seem to be based on actual folk tales, with their ordinary themes of simple-minded husbands, adulterous wives, and clever lovers, as well as the magical transformations that characterize the entire novel, are included within the main narrative. The longest of these inclusions is the tale of Cupid and Psyche, encountered here for the first but not the last time in Western literature.

Style

Apuleius' style is innovative, mannered, baroque and exuberant, a far cry from the more sedate Latinity familiar from the schoolroom. In the introduction to his translation of The Golden Ass, Jack Lindsay writes:

Let us glance at some of the details of Apuleius' style and it will become clear that English translators have not even tried to preserve and carry over the least tincture of his manner ... Take the description of the baker's wife: saeva scaeva virosa ebriosa pervicax pertinax...  The nagging clashing effect of the rhymes gives us half the meaning. I quote two well-known versions: "She was crabbed, cruel, cursed, drunken, obstinate, niggish, phantasmagoric." "She was mischievous, malignant, addicted to men and wine, forward and stubborn." And here is the most recent one (by R. Graves): "She was malicious, cruel, spiteful, lecherous, drunken, selfish, obstinate." Read again the merry and expressive doggerel of Apuleius and it will be seen how little of his vision of life has been transferred into English.

Lindsay's own version is: "She was lewd and crude, a toper and a groper, a nagging hag of a fool of a mule."

Sarah Ruden's recent translation is: "A fiend in a fight but not very bright, hot for a crotch, wine-botched, rather die than let a whim pass by – that was her."[7]

Apuleius' vocabulary is often eccentric and includes some archaic words. However, S. J. Harrison argues that some archaisms of syntax in the transmitted text may be the result of textual corruption.[8]

Final book

In the last book, the tone abruptly changes. Driven to desperation by his asinine form, Lucius calls for divine aid, and is answered by the goddess Isis. Eager to be initiated into the mystery cult of Isis, Lucius abstains from forbidden foods, bathes and purifies himself. Then the secrets of the cult's books are explained to him and further secrets revealed, before going through the process of initiation which involves a trial by the elements in a journey to the underworld. Lucius is then asked to seek initiation into the cult of Osiris in Rome, and eventually becomes initiated into the pastophoroi, a group of priests that serves Isis and Osiris.[9]

Adaptations and influence

The style of autobiographical confession of suffering in The Golden Ass influenced Augustine of Hippo in the tone and style—partly in Polemic—of his Confessions.[10] Scholars note that Apuleius came from the M'Daourouch in Algeria, where Augustine would later study. Augustine refers to Apuleius and The Golden Ass particularly derisively in City of God.

In 1517, Niccolò Machiavelli wrote his own version of the story, as a terza rima poem. It was uncompleted at the time of his death.[11]

In 1708, Charles Gildon published an adaptation of The Golden Ass, titled The New Metamorphosis. A year later in 1709, he published a re-adaptation, titled The Golden Spy, which is regarded as the first, fully-fledged it-narrative in English.[12]

In 1821, Charles Nodier published "Smarra ou les Demons de la Nuit" influenced by a lecture of Apuleius.

In 1883, Carlo Collodi published The Adventures of Pinocchio which includes an episode in which the puppet protagonist is transformed into an ass. Another character who is transformed alongside him is named Lucignolo (Candlewick or Lampwick), a possible allusion to Lucius. The episode is frequently featured in its subsequent adaptations.

In 1915, Franz Kafka published the short story The Metamorphosis under a quite similar name, about a young man's unexpected transformation into an "Ungeziefer", a verminous bug.

In 1956, C. S. Lewis published the allegorical novel, Till We Have Faces, retelling the Cupid–Psyche myth of books four through six from the point of view of Orual, Psyche's jealous ugly sister. The novel revolves upon the threat and hope of meeting the divine face to face. It has been called Lewis's "most compelling and powerful novel".[13]

In 1985, comic-book artist Georges Pichard adapted the text into a graphic novel titled Les Sorcières de Thessalie.

In April 1999, the Canadian Opera Company produced an operatic version of The Golden Ass by Randolph Peters, the libretto of which was written by celebrated Canadian author Robertson Davies. An operatic production of The Golden Ass also appears as a plot device in Davies's novel A Mixture of Frailties (1958).

In 1999, comic-book artist Milo Manara adapted the text into a fairly abridged graphic novel version named Le metamorfosi o l'asino d'oro.

In the fantasy novel Silverlock by John Myers Myers, the character Lucius Gil Jones is a composite of Lucius, Gil Blas in Gil Blas by Alain-René Lesage, and Tom Jones in The History of Tom Jones, a Foundling by Henry Fielding.

See also

Footnotes

  1. ^ St. Augustine, The City of God 18.18.2'
  2. ^ James Evans (2005). Arts and Humanities Through the Eras. Thomson/Gale. p. 78. ISBN 978-0-7876-5699-7. The "Golden Ass," the only Latin novel to survive in its entirety
  3. ^ The Golden Ass 1.24
  4. ^ The Golden Ass 11.27
  5. ^ S. J. Harrison (2004) [2000]. Apuleius: A Latin Sophist (revised paperback ed.). Oxford: Oxford University Press. pp. 9–10. ISBN 0-19-927138-0.
  6. ^ Apuleius, Lucius; Walsh, P.G. (Trans) (1994). The Golden Ass. New York: Oxford UP. ISBN 978-0-19-283888-9
  7. ^ Apuleius (Sarah Ruden, translator). The Golden Ass. New Haven & London: Yale University Press, 2011. p. 195
  8. ^ S. J. Harrison (2006). "Some Textual Problems in Apuleius' Metamorphoses". In W. H. Keulen; et al. Lectiones Scrupulosae: Essays on the Text and Interpretation of Apuleius' Metamorphoses in Honour of Maaike Zimmerman. Ancient Narrative Supplementum. Groningen: Barkhuis. pp. 59–67. ISBN 90-77922-16-4.
  9. ^ Iles Johnson, Sarah, Mysteries, in Ancient Religions pp. 104–5, The Belknap Press of Harvard University (2007), ISBN 978-0-674-02548-6
  10. ^ Walsh, P.G. (1994). Introduction. The Golden Ass. Oxford: Oxford UP. ISBN 978-0-19-954055-6 p. xi
  11. ^ Patapan, Haig (2006). Machiavelli in Love: The Modern Politics of Love and Fear. Oxford: Lexington Press. ISBN 978-0-7391-1250-2 p. 61.
  12. ^ Wu, Jingyue (2017), ‘ “Nobilitas sola est atq; unica Virtus”: Spying and the Politics of Virtue in The Golden Spy; or, A Political Journal of the British Nights Entertainments (1709)’, Journal for Eighteenth-Century Studies 40:2 (2017), p.237-253 doi: 10.1111/1754-0208.12412
  13. ^ Filmer, Kath (1993). The Fiction of C. S. Lewis: Mask and Mirror. Basingstoke: Macmillan Press. p. 120. ISBN 9781349225378. Retrieved 27 October 2017.

References

English translations

  • Apuleius; Adlington, William (Trans.) (1566). The Golden Ass. Wordsworth Classics of World Literature, Wordsworth Ed. Ltd.: Ware, GB. ISBN 1-85326-460-1
  • Apuleius; Taylor, Thomas (Trans.) (1822). The Metamorphosis, or The Golden Ass, and Philosophical Works, of Apuleius. London: J. Moyes (Suppressed (dirty) passages printed separately.)
  • Apuleius; Head, George (Trans.) (1851). The Metamorphosis of Apuleius; A Romance of the Second Century. London: Longman, Brown, Green, and Longmans. (Bowdlerized)
  • Apuleius; Anonymous Translator (Trans.) (1853). The Works of Apuleius. London: Bohn's Library.
  • Apuleius; Byrne, Francis D. (Trans.) (1904). The Golden Ass. London: The Imperial Press. (Dirty passages rendered in original Latin.)
  • Apuleius; Butler H. E. (Trans.) (1910). The Golden Ass. London: The Clarendon Press. (Dirty passages removed.)
  • Apuleius; Graves, Robert (Trans.) (1950). The Golden Ass. Penguin Classics, Penguin Books Ltd. ISBN 0-374-53181-1
  • Apuleius; Lindsay, Jack (Trans.) (1962). The Golden Ass. Bloomington: Indiana University Press. ISBN 0-253-20036-9
  • Apuleius; Hanson, John Arthur (Trans.) (1989). Metamorphoses. Loeb Classical Library, Harvard University Press. ISBN 0-674-99049-8 (v. 1), ISBN 0-674-99498-1 (v. 2)
  • Apuleius; Walsh, P.G. (Trans.) (1994). The Golden Ass. New York: Oxford UP. ISBN 978-0-19-283888-9
  • Apuleius; Kenney, E.J. (Trans.) (1998, rev. 2004). The Golden Ass. London: Penguin. ISBN 978-0-14-043590-0
  • Apuleius; Relihan, Joel C. (Trans.) (2007). The Golden Ass Or, A Book of Changes Hackett Publishing Company: Indianapolis. ISBN 978-0-87220-887-2
  • Apuleius; Ruden, Sarah (Trans.) (2011). The Golden Ass. Yale UP. ISBN 978-0-300-15477-1

Further reading

  • Carver, Robert H. F. (2007). The Protean Ass: The 'Metamorphoses' of Apuleius from Antiquity to the Renaissance. Oxford: Oxford University Press. ISBN 978-0-19-921786-1
  • De Smet, Richard. (1987). "The Erotic Adventure of Lucius and Photis in Apuleius' Metamorphoses." Latomus 46.3: 613-623. Société d'Études Latines de Bruxelles.
  • Gaisser, J. Haig. (2008). The Fortunes of Apuleius and the Golden Ass: A Study in Transmission and Reception. Princeton: Princeton University Press.
  • Gorman, S. (2008). "When the Text Becomes the Teller: Apuleius and the Metamorphoses." Oral Tradition 23(1), Center for Studies in Oral Tradition
  • Griffiths, J. Gwyn (1975). Apuleius of Madauros: The Isis-Book (Metamorphoses, Book XI). E. J. Brill. ISBN 90-04-04270-9
  • Harrison, S. (2000). Apuleius. A Latin Sophist. Oxford and New York: Oxford University Press.
  • Harrison, S. (ed.) (2015). Characterisation in Apuleius' Metamorphoses: Nine Studies. Pierides, 5. Newcastle upon Tyne: Cambridge Scholars Publishing.
  • Harrison, S. J. (2013). Framing the Ass: Literary Texture in Apuleius' Metamorphoses. Oxford; New York: Oxford University Press.
  • Hooper, R. (1985). Structural Unity in the Golden Ass. Latomus, 44(2), 398-401.
  • Kenney, E. (2003). "In the Mill with Slaves: Lucius Looks Back in Gratitude." Transactions of the American Philological Association (1974-) 133.1: 159-192.
  • Keulen, W. H. (2011). Aspects of Apuleius' Golden Ass : The Isis Book: A Collection of Original Papers. Leiden: Brill.
  • Kirichenko, A. (2008). "Asinus Philosophans: Platonic Philosophy and the Prologue to Apuleius' "Golden Ass."" Mnemosyne, 61(1), fourth series, 89-107.
  • Lee, Benjamin Todd, Ellen D Finkelpearl, and Luca Graverini. (2014). Apuleius and Africa. New York;London: Routledge.
  • May, R. (2006). Apuleius and Drama: The Ass on Stage. Oxford: Oxford University Press.
  • Oswald, Peter (2002). The Golden Ass or the Curious Man. Comedy in Three Parts after the Novel by Lucius Apuleius. London: Oberon Books. ISBN 1-84002-285-X
  • O'Sullivan, Timothy M. (2017). "Human and Asinine Postures in Apuleius' Golden Ass." The Classical Journal, 112.2: 196-216.
  • Paschalis, M., & Frangoulidis, S. A. (2002). Space in the Ancient Novel. Groningen: Barkhuis Publishing.
  • Perry, B. E. (2016). "An Interpretation of Apuleius' Metamorphoses." Illinois Classical Studies 41.2: 405-421
  • Schlam, C. (1968). The Curiosity of the Golden Ass. The Classical Journal, 64.3: 120-125.
  • Schoeder, F. M. (2008). "The Final Metamorphosis: Narrative Voice in the Prologue of Apuleius' Golden Ass." In S. Stern-Gillet, and K. Corrigan (eds.), Reading Ancient Texts : Aristotle and Neoplatonism - Essays in Honour of Denis O'Brien, 115-135. Boston: Brill.
  • Stevenson, S. (1934). "A Comparison of Ovid and Apuleius as Story-Tellers." The Classical Journal 29.8: 582-590.
  • Tatum, J. (1969). "The Tales in Apuleius' Metamorphoses." Transactions and Proceedings of the American Philological Association 100: 487-527.
  • Tilg, Stefan (2014). Apuleius' Metamorphoses: A Study in Roman Fiction. Oxford: Oxford University Press. ISBN 978-0-19-870683-0
  • Wright, C. S, Holloway, J. Bolton, & Schoeck, R. J. (2000). Tales within Tales: Apuleius Through Time. New York: AMS Press.

External links

Commentary

Acta Andreae et Matthiae apud Anthropophagos

Acta Andreae et Matthiae apud Anthropophagos ("The Acts of Andrew and Matthias among the Anthropophagi") which exists in several Latin manuscript traditions, is the dramatic romance featuring the Apostles Andrew and Matthias among the cannibals, a thriller featuring gory details that was written for a Christian audience in the 2nd century CE. Constantin von Tischendorf published an edited text following Johann Karl Thilo, 1846.Acta Andreae et Matthiae in urbe anthropophagarum, according to Richard Adelbert Lipsius, belonged to the middle of the 2nd century. This apocryphal text relates that Matthias went among the cannibals and, being cast into prison, was delivered by Andrew. The narrative is considered to be a Romance and is understood to have no historical value. Heinz Hofmann classes it "secondary apocrypha", that is, one derived from apocryphal sources; the ghoulish man-eaters remind Hofmann of the killing of Socrates by the witch Meroë in Apuleius' Metamorphoses, better known as The Golden Ass. Among the Latin texts of the Acta Andreae et Mattiae, F. Blatt notes how the mss in Codex Casanatensis 1104 particularly expands upon the horror to describe the instruments and vessels the cannibals use for the slaughter.

Appuleius

Appuleius is the nomen of the Roman gens Appuleia. It may refer to various members of that family, including:

Lucius Appuleius Saturninus, tribune of the plebs in 100 B.C.

Lucius Caecilicus Minutianus Appuleius, ancient Roman writer on grammar

Any of several individuals named Sextus Appuleius.

Lucius Appuleius, author of The Golden Ass.For other persons named Appuleius, see Appuleia (gens).

Apuleius

Apuleius (; also called Lucius Apuleius Madaurensis; c. 124 – c. 170 AD) was a Latin-language prose writer, Platonist philosopher and rhetorician. He was a Numidian who lived under the Roman Empire and was from Madauros (now M'Daourouch, Algeria). He studied Platonism in Athens, travelled to Italy, Asia Minor, and Egypt, and was an initiate in several cults or mysteries. The most famous incident in his life was when he was accused of using magic to gain the attentions (and fortune) of a wealthy widow. He declaimed and then distributed a witty tour de force in his own defense before the proconsul and a court of magistrates convened in Sabratha, near ancient Tripoli, Libya. This is known as the Apologia.

His most famous work is his bawdy picaresque novel, the Metamorphoses, otherwise known as The Golden Ass. It is the only Latin novel that has survived in its entirety. It relates the ludicrous adventures of one Lucius, who experiments with magic and is accidentally turned into a donkey.

Beauty and the Beast

Beauty and the Beast (French: La Belle et la Bête) is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins (The Young American and Marine Tales). Her lengthy version was abridged, rewritten, and published first by Jeanne-Marie Leprince de Beaumont in 1756 in Magasin des enfants (Children's Collection) and by Andrew Lang in the Blue Fairy Book of his Fairy Book series in 1889, to produce the version(s) most commonly retold. It was influenced by some earlier stories, such as "Cupid and Psyche", The Golden Ass written by Lucius Apuleius Madaurensis in the 2nd century AD, and "The Pig King", an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola.Variants of the tale are known across Europe. In France, for example, Zémire and Azor is an operatic version of the story, written by Marmontel and composed by Grétry in 1771, which had enormous success well into the 19th century; it is based on the second version of the tale. Amour pour amour (Love for love), by Nivelle de la Chaussée, is a 1742 play based on de Villeneuve's version. According to researchers at universities in Durham and Lisbon, the story originated around 4,000 years ago.

Cupid and Psyche

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). The tale concerns the overcoming of obstacles to the love between Psyche (, Greek: Ψυχή [pʰsyː.kʰɛ᷄ː], "Soul" or "Breath of Life") and Cupid (Latin Cupido, "Desire") or Amor ("Love", Greek Eros ’′Ερως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth.Since the rediscovery of Apuleius's novel in the Renaissance, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and even wallpaper. Though Psyche is usually referred to in Roman mythology by her Greek name, her Roman name through direct translation is Anima.

East of the Sun and West of the Moon

"East of the Sun and West of the Moon" (Norwegian: Østenfor sol og vestenfor måne) is a Norwegian fairy tale.

"East of the Sun and West of the Moon" was collected by Peter Christen Asbjørnsen and Jørgen Moe. It is Aarne–Thompson type 425A, the search for the lost husband; other tales of this type include "Black Bull of Norroway", "The King of Love", "The Brown Bear of Norway", "The Daughter of the Skies", "The Enchanted Pig", "The Tale of the Hoodie", "Master Semolina", "The Sprig of Rosemary", "The Enchanted Snake", and "White-Bear-King-Valemon". The Swedish version is called "Prince Hat under the Ground". It is related to both the tale of "Cupid and Psyche" in The Golden Ass and to "Beauty and the Beast".

It was included by Andrew Lang in The Blue Fairy Book.

Ermil Kostrov

Yermil Ivanovich Kostrov (ca. 1755 - 1796) was the first to translate the Iliad into Russian. His father was a peasant from the Vyatka Governorate. Kostrov was educated in the Slavic Greek Latin Academy and received an annual pension from the Moscow University for odes and other poems he would write for special occasions. He lived in abject poverty and was prone to alcoholism. Apart from light verse and a book of odes, he also produced the first Russian translations of Ossian's poems and The Golden Ass.

Eros

In Greek mythology, Eros (UK: , US: ; Greek: Ἔρως, "Desire") is the Greek god of love. His Roman counterpart was Cupid ("desire"). Normally, he is described as one of the children of Aphrodite and Ares, and with most of his siblings, was a part of group, consisting of winged love gods. However, sometimes he is also described as one of the primordial gods, but then, he is most often identified with Phanes.

Eros and Psyche (Robert Bridges)

Eros and Psyche is a narrative poem with strong romantic and tragic themes: first published in 1885 by Robert Bridges. Bridges was licensed as a physician in England until 1882 when he was forced to retire due to a lung disease. He would then devote the rest of his life to literary research and writing and would be appointed as Poet Laureate of the United Kingdom in 1913.Bridges' Eros and Psyche retells the Eros (Cupid) and Psyche myth first recorded by Lucius Apuleius in his book The Golden Ass. The work received critical acclaim; Coventry Patmore expressing the opinion that Bridge's version would become the standard form of Apuleius myth.

Landscape with Psyche Outside the Palace of Cupid

Landscape with Psyche Outside the Palace of Cupid, or The Enchanted Castle, 1664, is a painting, oil on canvas, by Claude Lorrain in the National Gallery, London. It was commissioned by Lorenzo Onofrio Colonna, a Roman aristocrat. Its subject is taken from The Golden Ass (IV-VI), by Apuleius – the love story of Psyche the soul, and Cupid the god of love. It is not clear if Psyche sits in front of Cupid's castle before she meets him, or after he has abandoned her.

It is sometimes thought – it is disputed – to have inspired the lines – Charm'd magic casements, opening on the foam/Of perilous seas, in faery lands forlorn , – in John Keats's "Ode to a Nightingale". Keats was fascinated by the picture.

Milesian tale

The Milesian tale (Μιλησιακά, Milisiaka in Greek; in Latin fabula milesiaca, or Milesiae fabula) is a genre of fictional story prominent in ancient Greek and Roman literature. According to most authorities, a Milesian tale is a short story, fable, or folktale featuring love and adventure, usually of an erotic or titillating nature. M. C. Howatson, in The Oxford Companion to Classical Literature (1989), voices the traditional view the Milesian tale is the source "of such medieval collections of tales as the Gesta Romanorum, the Decameron of Boccaccio, and the Heptameron of Marguerite of Navarre".

Gottskálk Jensson of the University of Copenhagen, Denmark, however, offers a dissenting view or corrective, arguing the original Milesian tale was:

a type of first-person novel, a travelogue told from memory by a narrator who every now and then would relate how he encountered other characters who told him stories which he would then incorporate into the main tale through the rhetorical technique of narrative impersonation.

This resulted in "a complicated narrative fabric: a travelogue carried by a main narrator with numerous subordinate tales carried by subordinate narrative voices". The best complete example of this would be Apuleius's The Golden Ass, a Roman novel written in the second century of the Common Era. Apuleius introduces his novel with the words "At ego tibi sermone isto Milesio varias fabulas conseram" ("But let me join together different stories in that Milesian style"), which suggests not each story is a Milesian tale, but rather the entire joined-together collection. The idea of the Milesian tale also served as a model for the episodic narratives strung together in Petronius's Satyricon.

Mysteries of Isis

The mysteries of Isis were religious initiation rites performed in the cult of the goddess Isis in the Greco-Roman world. They were modeled on other mystery rites, particularly the Eleusinian Mysteries in honor of the Greek goddess Demeter, and originated sometime between the third century BCE and the second century CE. Despite their mainly Hellenistic origins, the mysteries did allude to beliefs from ancient Egyptian religion, in which the worship of Isis arose. By undergoing the mystery rites, initiates signaled their dedication to Isis, although they were not required to worship her exclusively. The rites were seen as a symbolic death and rebirth, and they may have been thought to guarantee that the initiate's soul, with the goddess's help, would continue after death in a blissful afterlife.

Many texts from the Roman Empire refer to the mysteries of Isis, but the only source to describe them is a work of fiction, the novel The Golden Ass, written in the second century CE by Apuleius. In it, the initiate undergoes elaborate ritual purification before descending into the innermost part of Isis's temple, where he has an intense religious experience, seeing the gods in person.

Some aspects of the mysteries of Isis and of other mystery cults, particularly their connection with the afterlife, resemble important elements of Christianity. The question of whether the mysteries influenced Christianity is controversial and the evidence is unclear; some scholars today attribute the similarities to a shared cultural background rather than direct influence. In contrast, Apuleius's account has had direct effects in modern times. Through his description, the mysteries of Isis have influenced many works of fiction and modern fraternal organizations, as well as a widespread, though false, belief that the ancient Egyptians themselves had an elaborate system of mystery initiations.

Psyche Revived by Cupid's Kiss

Psyche Revived by Cupid's Kiss (Italian: Amore e Psiche [aˈmoːre e ˈpsiːke]; French: Psyché ranimée par le baiser de l'Amour; Russian: Аму́р и Психе́я, translit. Amúr i Psikhéja) is a sculpture by Antonio Canova first commissioned in 1787 by Colonel John Campbell. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. The story of Cupid and Psyche is taken from Lucius Apuleius' Latin novel The Golden Ass, and was popular in art.

Joachim Murat acquired the first or prime version (pictured) in 1800. After his death the statue entered the Louvre Museum in Paris, France in 1824;Prince Yusupov, a Russian nobleman acquired the 2nd version of the piece from Canova in Rome in 1796, and it later entered the Hermitage Museum in Saint Petersburg.

Psyché (play)

Psyché is a five-act, free verse tragicomédie et ballet, originally written as a prose text by Molière and versified in collaboration with Pierre Corneille and Philippe Quinault, with music composed by Jean-Baptiste Lully. The plot is based on the story of Cupid and Psyche in The Golden Ass, written in the 2nd century by Apuleius. It was first performed on 17 January 1671 before the royal court of Louis XIV at the Théâtre des Tuileries, with ballets by Pierre Beauchamps, Anthoine des Brosses, and Nicolas Delorge, and spectacular scenery and special effects designed by Carlo Vigarani.

Robert Graves

Robert von Ranke Graves (24 July 1895 – 7 December 1985), known as Robert Graves, was a British poet, historical novelist, critic, and classicist. His father was Alfred Perceval Graves, a celebrated Irish poet and figure in the Gaelic revival; they were both Celticists and students of Irish mythology. Graves produced more than 140 works. Graves's poems—together with his translations and innovative analysis and interpretations of the Greek myths; his memoir of his early life, including his role in World War I, Good-Bye to All That; and his speculative study of poetic inspiration, The White Goddess—have never been out of print.He earned his living from writing, particularly popular historical novels such as I, Claudius, King Jesus, The Golden Fleece and Count Belisarius. He also was a prominent translator of Classical Latin and Ancient Greek texts; his versions of The Twelve Caesars and The Golden Ass remain popular for their clarity and entertaining style. Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God.

Sextus of Chaeronea

Sextus of Chaeronea (Greek: Σέξστος ὁ Χαιρωνεύς, fl. c. 160 AD) was a philosopher, a nephew or grandson of Plutarch, and one of the teachers of the emperor Marcus Aurelius.

Philostratus describes how even when Marcus was an old man, in the latter part of his reign, he received instruction from Sextus, who was teaching in Rome:

The Emperor Marcus was an eager disciple of Sextus the Boeotian philosopher, being often in his company and frequenting his house. Lucius, who had just come to Rome, asked the Emperor, whom he met on his way, where he was going to and on what errand, and Marcus answered, "it is good even for an old man to learn; I am now on my way to Sextus the philosopher to learn what I do not yet know." And Lucius, raising his hand to heaven, said, "O Zeus, the king of the Romans in his old age takes up his tablets and goes to school"

The date of this encounter is most likely 177-8, before Marcus' last departure for war. Marcus is also said to have "showed off" his philosophy before Sextus.In his Meditations, Marcus speaks of Sextus in glowing terms, and we discover the type of education he received from Sextus:

My debts to Sextus include kindliness, how to rule a household with paternal authority, the real meaning of the Natural Life, an unselfconscious dignity, an intuitive concern for the interests of one's friends, and a good-natured patience with amateurs and visionaries. The aptness of his courtesy to each individual lent a charm to his society more potent than any flattery, yet at the same time it exacted the complete respect of all present. His manner, too, of determining and systematizing the essential rules of life was as comprehensive as it was methodical. Never displaying a sign of anger nor any kind of emotion, he was at once entirely imperturbable and yet full of kindly affection. His approval was always quietly and undemonstratively expressed, and he never paraded his encyclopaedic learning.

He is probably the Sextus listed along with Plutarch, Agathobulus and Oenomaus in the Chronicle of Jerome as flourishing in the 3rd year of Hadrian's reign (119 AD). Apuleius pays tribute to Sextus (and Plutarch) at the beginning of The Golden Ass. In what is widely considered to be an error, the Suda identifies Sextus of Chaeronea as being the same person as Sextus Empiricus; although there is some plausibility to the identification but Sextus of Chaeronea, it would seem, was so high in the favour of Marcus Aurelius, that he sat in judgement with him. Two works are mentioned: Ethics (Greek: Ἠθικά), and Inquiries (Greek: Ἐπισκεπτικά), but whether they were by Sextus of Chaeronea or Sextus Empiricus is unknown.

The Golden Ass (Machiavelli)

L'asino (also called L'asino d'oro; English: The Golden Ass) is an unfinished satirical poem of eight cantos written by the Italian political scientist and writer Niccolò Machiavelli in 1517. A modernized version of Apuleius' The Golden Ass (rather than a translation of it), it is written in terza rima. It also concerns the theme of metamorphosis, and contains grotesque and allegorical episodes.

In the poem, the author meets a beautiful herdswoman surrounded by Circe's herd of beasts (Canto 2). After spending a night of love with him, she explains the characteristics of the animals in her charge: the lions are the brave, the bears are the violent, the wolves are those forever dissatisfied, and so on (Canto 6). In Canto 7 he is introduced to those who experience frustration: a cat that has allowed its prey to escape; an agitated dragon; a fox constantly on the look-out for traps; a dog that bays the moon; Aesop's lion in love that allowed himself to be deprived of his teeth and claws. There are also emblematic satirical portraits of various Florentine personalities. In the eighth and last canto he has a conversation with a pig that, like the Gryllus of Plutarch's Moralia, does not want to be changed back and condemns human greed, cruelty and conceit.

Till We Have Faces

Till We Have Faces: A Myth Retold is a 1956 novel by C. S. Lewis. It is a retelling of Cupid and Psyche, based on its telling in a chapter of The Golden Ass of Apuleius. This story had haunted Lewis all his life, because he realized that some of the main characters' actions were illogical. As a consequence, his retelling of the story is characterized by a highly developed character, the narrator, with the reader being drawn into her reasoning and her emotions. This was his last novel, and he considered it his most mature, written in conjunction with his wife, Joy Davidman.

The first part of the book is written from the perspective of Psyche's older sister Orual, as an accusation against the gods. The story is set in the fictive kingdom of Glome, a primitive city-state whose people have occasional contact with civilized Hellenistic Greece. In the second part of the book, the narrator undergoes a change of mindset (Lewis would use the term conversion) and understands that her initial accusation was tainted by her own failings and shortcomings, and that the gods are lovingly present in humans' lives.

William Adlington

William Adlington (fl. 1566) was one among the host of translators that made the Elizabethan era the "golden age of translations". His Englishing of Apuleius' 2nd century CE novel Metamorphoses, better known by its English title The Golden Ass (1566, reprinted 1571, 1582, 1596) was its first appearance in English and has been steadily reprinted into the 20th century. His prose is bold and delightful, though he does not stick as close to his source as a modern translator would be expected to do, in part because he had probably translated from a French edition of the text alongside the original Latin. The book was a favourite source of Shakespeare's. He addressed his dedication to Thomas, Earl of Sussex, from "University College in Oxenford", but so little is known of him that he did not rate a vita in the Dictionary of National Biography. A connection with the Adlington family of Cheshire is unproven, as is his authorship of the 1579 verse tract "A Speciall Remedie against the furious force of Lawlesse Love", which is more likely to have been written by the London schoolmaster William Averell.

This page is based on a Wikipedia article written by authors (here).
Text is available under the CC BY-SA 3.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.