The Butterfly National Helpline aims to provide appropriate referrals to professionals screened for an understanding of eating disorders so people Australia wide can get help in recovering or caring for someone with an eating disorder. Update your details if you have:. If you have a question or would like to know more about our referral database, please contact referraldatabase thebutterflyfoundation. We would recommend starting with the following resources if you are interested in:. It can be extremely difficult raising the subject of eating disorders with a friend or loved one. To be supportive one needs to learn what to say and what not to say.
Communicating your concern with your child about eating and dieting behaviour can be extremely difficult. Butterfly offers a range of services that can provide you with skills and information related to communicating with your child. Teachers and those working with young people are often the first to become aware of dis-ordered eating behaviours.
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Butterfly Education provides early intervention and prevention skills for professionals working with young people. Donate now. Do you have an understanding of eating disorders? Who can apply to be part of the Butterfly Referral Database? Any health professional or service operating in Australia can apply, including: General Practitioners GPs Pediatricians Dietitians Counsellors Psychologists Psychiatrists Dentists Complementary health practitioners Treatment and day services. What are the benefits of being part of our referral database?singbundrettarr.cf
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Join our network of over services and practitioners to: Gain new clients Access to professional development information and resources The Butterfly National Helpline - supporting you and your clients: We can provide support to your clients, their families and carers, in times of distress outside of your contact hours.
Our specialist counsellors are on the line from 8am — midnight AEST, seven days a week Get referrals to specialists in other disciplines to build your client's treatment team. How to apply. But when Venus withdraws to attend a wedding feast, a kind ant takes pity on Psyche, and assembles a fleet of insects to accomplish the task.
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Venus is furious when she returns drunk from the feast, and only tosses Psyche a crust of bread. At this point in the story, it is revealed that Cupid is also in the house of Venus, languishing from his injury. At dawn, Venus sets a second task for Psyche. She is to cross a river and fetch golden wool from violent sheep who graze on the other side. These sheep are elsewhere identified as belonging to the Helios. For Psyche's third task, she is given a crystal vessel in which to collect the black water spewed by the source of the rivers Styx and Cocytus.
Climbing the cliff from which it issues, she is daunted by the foreboding air of the place and dragons slithering through the rocks, and falls into despair. Zeus himself takes pity on her, and sends his eagle to battle the dragons and retrieve the water for her. The last trial Venus imposes on Psyche is a quest to the underworld itself.
She is to take a box pyxis and obtain in it a dose of the beauty of Proserpina , queen of the underworld. Venus claims her own beauty has faded through tending her ailing son, and she needs this remedy in order to attend the theatre of the gods theatrum deorum. Once again despairing of her task, Psyche climbs a tower, planning to throw herself off. The tower, however, suddenly breaks into speech, and advises her to travel to Lacedaemon , Greece, and to seek out the place called Taenarus , where she will find the entrance to the underworld.
The tower offers instructions for navigating the underworld :.
The airway of Dis is there, and through the yawning gates the pathless route is revealed. Once you cross the threshold, you are committed to the unswerving course that takes you to the very Regia of Orcus. The speaking tower warns her to maintain silence as she passes by several ominous figures: a lame man driving a mule loaded with sticks, a dead man swimming in the river that separates the world of the living from the world of the dead, and old women weaving. These, the tower warns, will seek to divert her by pleading for her help: she must ignore them. The cakes are treats for distracting Cerberus , the three-headed watchdog of Orcus, and the two coins for Charon the ferryman , so she can make a return trip.
Everything comes to pass according to plan, and Proserpina grants Psyche's humble entreaty. As soon as she reenters the light of day, however, Psyche is overcome by a bold curiosity, and can't resist opening the box in the hope of enhancing her own beauty. She finds nothing inside but an "infernal and Stygian sleep," which sends her into a deep and unmoving torpor. Meanwhile, Cupid's wound has healed into a scar, and he escapes his mother's house by flying out of a window. When he finds Psyche, he draws the sleep from her face and replaces it in the box, then pricks her with an arrow that does no harm.
He lifts her into the air, and takes her to present the box to Venus. He then takes his case to Zeus , who gives his consent in return for Cupid's future help whenever a choice maiden catches his eye. Zeus has Hermes convene an assembly of the gods in the theater of heaven, where he makes a public statement of approval, warns Venus to back off, and gives Psyche ambrosia , the drink of immortality,  so the couple can be united in marriage as equals.
Their union, he says, will redeem Cupid from his history of provoking adultery and sordid liaisons. With its happy marriage and resolution of conflicts, the tale ends in the manner of classic comedy  or Greek romances such as Daphnis and Chloe. The assembly of the gods has been a popular subject for both visual and performing arts, with the wedding banquet of Cupid and Psyche a particularly rich occasion.
With the wedding of Peleus and Thetis , this is the most common setting for a " Feast of the Gods " scene in art. Apuleius describes the scene in terms of a festive Roman dinner party cena. Cupid, now a husband, reclines in the place of honor the "top" couch and embraces Psyche in his lap. Zeus and Hera situate themselves likewise, and all the other gods are arranged in order. The cupbearer of Jove Zeus's other Roman name serves him with nectar, the "wine of the gods"; Apuleius refers to the cupbearer only as ille rusticus puer , "that country boy," and not as Ganymede.
Liber , the Roman god of wine, serves the rest of the company. Vulcan , the god of fire, cooks the food; the Horae "Seasons" or "Hours" adorn, or more literally "empurple," everything with roses and other flowers; the Graces suffuse the setting with the scent of balsam , and the Muses with melodic singing. Apollo sings to his lyre , and Venus takes the starring role in dancing at the wedding, with the Muses as her chorus girls, a satyr blowing the aulos tibia in Latin , and a young Pan expressing himself through the pan pipes fistula. The wedding provides closure for the narrative structure as well as for the love story: the mysteriously provided pleasures Psyche enjoyed in the domus of Cupid at the beginning of her odyssey, when she entered into a false marriage preceded by funeral rites, are reimagined in the hall of the gods following correct ritual procedure for a real marriage.
The wedding banquet was a favored theme for Renaissance art. As early as , Giovanni Sabadino degli Arienti made the banquet central to his now-lost Cupid and Psyche cycle at the Villa Belriguardo , near Ferrara. The painting reflects the Rococo taste for pastels, fluid delicacy, and amorous scenarios infused with youth and beauty. The story of Cupid and Psyche was readily allegorized. In late antiquity , Martianus Capella 5th century refashions it as an allegory about the fall of the human soul.
In the version of Martianus, sexual love draws Psyche into the material world that is subject to death:  "Cupid takes Psyche from Virtue and shackles her in adamantine chains ". The tale thus lent itself to adaptation in a Christian or mystical context. In the Gnostic text On the Origin of the World , the first rose is created from the blood of Psyche when she loses her virginity to Cupid.
Apuleius's novel was among the ancient texts that made the crucial transition from roll to codex form when it was edited at the end of the 4th century. It was known to Latin writers such as Augustine of Hippo , Macrobius , Sidonius Apollinaris , Martianus Capella, and Fulgentius, but toward the end of the 6th century lapsed into obscurity and survived what was formerly known as the " Dark Ages " through perhaps a single manuscript.
One of the most popular images from the tale was Psyche's discovery of a naked Cupid sleeping, found in ceramics, stained glass , and frescos. Mannerist painters were intensely drawn to the scene. A fresco cycle for Hill Hall, Essex , was modeled indirectly after that of the Villa Farnesina around ,  and Thomas Heywood 's masque Love's Mistress dramatized the tale to celebrate the wedding of Charles I and Henrietta Maria , who later had her withdrawing chamber decorated with a painting Cupid and Psyche cycle by Jacob Jordaens.
The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was a vehicle for the Neoplatonism the queen brought with her from France. Another peak of interest in Cupid and Psyche occurred in the Paris of the late s and early s, reflected in a proliferation of opera, ballet, Salon art , deluxe book editions, interior decoration such as clocks and wall paneling, and even hairstyles.
In the aftermath of the French Revolution , the myth became a vehicle for the refashioning of the self. In writing about the Portland Vase , which was obtained by the British Museum around , Erasmus Darwin speculated that the myth of Cupid and Psyche was part of the Eleusinian cycle. With his interest in natural philosophy , Darwin saw the butterfly as an apt emblem of the soul because it began as an earthbound caterpillar, "died" into the pupal stage , and was then resurrected as a beautiful winged creature.
Shackerley Marmion wrote a verse version called Cupid and Psyche , and La Fontaine a mixed prose and verse romance William Blake's mythology draws on elements of the tale particularly in the figures of Luvah and Vala.
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Luvah takes on the various guises of Apuleius's Cupid: beautiful and winged; disembodied voice; and serpent. Blake , who mentions his admiration for Apuleius in his notes, combines the myth with the spiritual quest expressed through the eroticism of the Song of Solomon , with Solomon and the Shulamite as a parallel couple. Mary Tighe published her poem Psyche in She added some details to the story, such placing two springs in Venus' garden, one with sweet water and one with bitter.
When Cupid starts to obey his mother's command, he brings some of both to a sleeping Psyche, but places only the bitter water on Psyche's lips. Tighe's Venus only asks one task of Psyche, to bring her the forbidden water, but in performing this task Psyche wanders into a country bordering on Spenser 's Fairie Queene as Psyche is aided by a mysterious visored knight and his squire Constance, and must escape various traps set by Vanity, Flattery, Ambition, Credulity, Disfida who lives in a "Gothic castle" , Varia and Geloso.
Spenser's Blatant Beast also makes an appearance. Tighe's work influenced English lyric poetry on the theme, including two poems by William Wordsworth called "To a Butterfly,"  and the Ode to Psyche by John Keats. Sylvia Townsend Warner transferred the story to Victorian England in her novel The True Heart , though few readers made the connection till she pointed it out herself. Hilda Doolittle.
Adlington seems not to have been interested in a Neoplatonic reading, but his translation consistently suppresses the sensuality of the original. Motifs from Apuleius occur in several fairy tales, including Cinderella and Rumpelstiltskin , in versions collected by folklorists trained in the classical tradition, such as Charles Perrault and the Grimm brothers.
Like Cinderella, Psyche has two envious sisters who compete with her for the most desirable male. Cinderella's sisters mutilate their own feet to emulate her, while Psyche's are dashed to death on a rocky cliff. She cannot bring herself to kill the Prince, however.
Unlike Psyche, who becomes immortal, she doesn't receive his love in return, but she, nevertheless, ultimately earns the eternal soul she yearns for. Thomas Bulfinch wrote a shorter adaptation of the Cupid and Psyche tale for his Age of Fable , borrowing Tighe's invention of Cupid's self-wounding, which did not appear in the original.
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Till We Have Faces is C. Lewis' last work of fiction and elaborates on Apuleius' story in a modern way. Matthew Locke 's semi-opera Psyche is a loose reworking from the production.
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In the 19th century, Cupid and Psyche was a source for "transformations," visual interludes involving tableaux vivants , transparencies and stage machinery that were presented between the scenes of a pantomime but extraneous to the plot. To create these tableaux , costumed performers "froze" in poses before a background copied meticulously from the original and enlarged within a giant picture frame.
Nudity was feigned by flesh-colored bodystockings that negotiated standards of realism, good taste, and morality. Playwright Emily C. The play takes a feminist approach in diverging from the original myth, giving Psyche more agency. Viewed in terms of psychology rather than allegory, the tale of Cupid and Psyche shows how "a mutable person … matures within the social constructs of family and marriage".
Cupid and Psyche has been analyzed from a feminist perspective as a paradigm of how the gender unity of women is disintegrated through rivalry and envy, replacing the bonds of sisterhood with an ideal of heterosexual love. Carol Gilligan uses the story as the basis for much of her analysis of love and relationships in The Birth of Pleasure Knopf, The story of Cupid and Psyche is depicted in a wide range of visual media. Psyche is often represented with butterfly wings, and the butterfly is her frequent attribute and a symbol of the soul, though the literary Cupid and Psyche never says that she has or acquires wings.
In antiquity , an iconographical tradition existed independently of Apuleius's tale and influenced later depictions. Some extant examples suggest that in antiquity Cupid and Psyche could have a religious or mystical meaning. Rings bearing their likeness, several of which come from Roman Britain , may have served an amuletic purpose.
The allegorical pairing depicts perfection of human love in integrated embrace of body and soul 'psyche' Greek for butterfly symbol for transcendent immortal life after death. On sarcophagi , the couple often seem to represent an allegory of love overcoming death. A relief of Cupid and Psyche was displayed at the mithraeum of Capua , but it is unclear whether it expresses a Mithraic quest for salvation, or was simply a subject that appealed to an individual for other reasons.