Lucius Finally Hits the Anglophone Stage: Robertson Davies’ Operatic Golden Ass and the Reunification of Apuleius’ Asinus Aureus

The theatrical reception of Apuleius’ Asinus Aureus has largely been limited to the story of Cupid and Psyche because an adaptation of the entire novel challenges writers to “solve” the “problems” Apuleius puts before the reader, most of which involve the unity of the narrative. Canadian novelist Robertson Davies’ libretto for the posthumously produced The Golden Ass (1999) is the first attempt in English to present the entire novel onstage (and the first opera), and tries to solve the problems presented by Apuleius in a distinctly twentieth-century way, combining a life of reading and writing about the novel with the influence of Carl Jung and Robert Graves.

RE-ENACTMENTS OF THE PROLOGUE IN CUPID'S PALACE: AN IMMERSIVE READING OF APULEIUS’ STORY OF CUPID AND PSYCHE

This article offers a new interpretation of Apuleius’ story of Cupid and Psyche. Most scholars have previously offered a second-time reading of this story, according to which the reader reaches Book 11 and then looks back at Psyche's story of fall and redemption as a parallel for Lucius’ life. Following Graverini's and other scholars’ emotional approach to the Metamorphoses, I argue that the ecphrasis of Cupid's palace within the story of Cupid and Psyche includes multiple re-enactments of the novel's prologue. These re-enactments invite the reader to undertake a first-time and immersive reading of this story, which focusses on Psyche's experience of Cupid and her reaction to his epiphany. In its use of immersion, this article draws from recent developments in cognitive narratology and pushes scholars of Apuleius to focus on the reader's immersive and emotional response in order to reassess the value of a second-time reading of the Metamorphoses.