The Kiss And The Rapture Of Psyche
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The Kiss and The Rapture of Psyche
As time passes, many things come and go: inventions become obsolete, certain fashion goes out of style, moral and social codes undergo transformation. However, one thing remains untouched — it is the nature of human relationships. The stories of Romeo and Juliet, Tristran and Isolde still touch the hearts of our generation, because those are the stories of love. For me love is the singular most powerful force in the universe. Rodin’s the Kiss, with its rich history is a perfect example of love reigning over acceptable social boundaries, fearless of repercussions, and everlasting. I believe that in order to truly appreciate Rodin’s work in all of its aspects, the comparison needs to be just as daring in its history, fearless in love, and beautiful in sensuality. The Rapture of Psyche by William Bouguereau is yet another portrayal of two people overstepping all the restrictions in the name of love.
The Kiss was inspired by Dante’s Divine Comedy, where Dante and Virgil meet the couple of Paolo and Francesca in the Second Circle of Hell. The lovers were historical figures who lived in the thirteenth century in Florence where Dante was growing up (Wikipedia). Francesca was unhappily married to the son of the Lord of Rimini, and she fell in love with his younger brother Paolo. The Captain of the People in Florence, a handsome man in his twenties, Paolo looked especially favorable compared to his sibling, who had physical deformities. When the deceived husband discovered the illicit love affair, he took his revenge by stabbing both lovers to death (Wikipedia).
Dante believes that the two lovers were cast down to the pits of hell for their transgression, but it seems that Rodin takes a completely different approach to the issue. In the sculpture we see two beautiful bodies intertwined in a passionate kiss. Sexuality seems to be sipping through Francesca’s body; she appears to be a true ideal of femininity. Her beautiful forms, her sensuality, the way she wraps her arms around his neck: everything in her bare body points to the fact that she is a woman, a lover, a seductress, and a giver of life. At the same time Paolo is depicted as a strong man — a protector figure — with protruding arm muscles. Paolo’s hand tenderly touches Francesca’s thigh, indicating that he lays claim to her, just as she does to him, only in much more gentle fashion, as if afraid to hurt her.
In comparison to mortal love of Francesca and Paolo, the story of Cupid and Psyche is of the godly realm. The myth of Cupid and Psyche dates back to ancient Greece and is first mentioned in Metamorphoses. When Aphrodite noticed that her temples are not being worshipped and her favorite towns have been abandoned, she discovered that a beautiful princess Psyche was to blame for that. Men from near and far came to pay homage to the beauty of the princess. In her jealousy Aphrodite ordered her son Eros (Cupid) to make Psyche fall in love with a monster, but Eros falls in love with the princess himself. After a number of ordeals the Gods hear Eros’ plea to make Psyche immortal and allow her on mount Olympus (Wikipedia).
In The Rapture of Psyche William Bouguereau paints a very young couple, with Eros holding his lover in the air. Psyche has her eyes closed and appears to be oblivious to the outside world, content on being in Cupid’s arms. The latter holds her close to his body, but at the same time his gaze is weary as he looks ahead. His posture indicates that he is ready to protect her, presumably against Venus’ rage, by all