"he hits Fozzie right as he looks up at Kelly. The two instantly fall in love with each other. A wiser and less self-centered Ray returns to his apartment. He finds another mysterious box outside his apartment with a note that says “nice work.” He opens the box and finds Cupid’s bow and arrow. The film flashes forward to three months in the future at the point the film began. The band continues but without Ray; Angela is the new singer. Frank & Angela and Fozzie & Kelly are still very much in love. Ray is many miles away driving"
"arrows of lead. Originally, Eros was the god of love and intercourse; he was also worshiped as a fertility deity. His Roman counterpart was Cupid (desire). In later myths, he was the son of the deities Aphrodite and Ares: it is the Eros of these later myths who is one of the erotes. Eros was associated with athleticism, with statues erected in ""gymnasia"", and ""was often regarded as the protector of homosexual love between men."" Eros was depicted as often carrying a lyre or bow and arrow. He was also depicted accompanied by dolphins, flutes, roosters, roses, and torches. Hedylogos"
"central figure of Venus. Particularly in ancient Roman art, cupids may also carry or be surrounded by fruits, animals, or attributes of the Seasons or the wine-god Dionysus, symbolizing the earth's generative capacity. Cupid carries two kinds of arrows, or darts, one with a sharp golden point, and the other with a blunt tip of lead. A person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels aversion and desires only to flee. The use of these arrows is described by the Latin poet Ovid in the first book of his"
"take precedence; in youth kāma and artha take precedence; while in old age dharma takes precedence. Kama is personified as deity Kamadeva and his consort Rati. Deity Kama is comparable to the Greek deity Eros—they both trigger human sexual attraction and sensual desire. Kama rides a parrot, and the deity is armed with bow and arrows to pierce hearts. The bow is made of sugarcane stalk, the bowstring is a line of bees, and the arrows are tipped with five flowers representing five emotions-driven love states. The five flowers on Kama arrows are lotus flower (infatuation), ashoka flower (intoxication with"
"art history, the equivalent of the Greek erotes. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto. Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he often had a dual nature as Heavenly and Earthly love. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings. In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of"
"the arrow and torch, ""because love wounds and inflames the heart."" These attributes and their interpretation were established by late antiquity, as summarized by Isidore of Seville (d. 636 AD) in his ""Etymologiae"". Cupid is also sometimes depicted blindfolded and described as blind, not so much in the sense of sightless—since the sight of the beloved can be a spur to love—as blinkered and arbitrary. As described by Shakespeare in ""A Midsummer Night's Dream"" (1590s): In Botticelli's ""Allegory of Spring"" (1482), also known by its Italian title ""La Primavera"", Cupid is shown blindfolded while shooting his arrow, positioned above the"
"to ""life energy"". In the classical world, erotic love was generally referred to as a kind of madness or ""theia mania"" (""madness from the gods""). This love passion was described through an elaborate metaphoric and mythological schema involving ""love's arrows"" or ""love darts"", the source of which was often the personified figure of Eros (or his Latin counterpart, Cupid), or another deity (such as Rumor). At times the source of the arrows was said to be the image of the beautiful love object itself. If these arrows were to arrive at the lover's eyes, they would then travel to and"
"tradition influenced the development of the medieval Christian devotion to the Sacred Heart of Jesus and the parallel worship of Immaculate Heart of Mary, made popular by John Eudes. The expression of a broken heart is a cross-cultural reference to grief for a lost one or to unfulfilled romantic love. The notion of ""Cupid's arrows"" is ancient, due to Ovid, but while Ovid describes Cupid as wounding his victims with his arrows, it is not made explicit that it is the ""heart"" that is wounded. The familiar iconography of Cupid shooting little heart symbols is a Renaissance theme that became"
"depiction in the Romantic style of an eastern concubine. Amor, or Cupid, was often depicted as a baby with wings. Cupid is winged because lovers are flighty and likely to change their minds, and like a small child because love is foolish and irrational. His symbols are the arrow and torch, ""because love wounds and inflames the heart."" These attributes and their interpretation were established by late antiquity. Although Eros appears in Classical Greek art as a slender winged youth, during the Hellenistic period he was increasingly portrayed as a chubby boy. In art, Cupid often appears in multiples as"
"of Actaeon). The classical conception of love's arrows was developed further by the troubadour poets of Provence during the medieval period, and became part of the European courtly love tradition. The role of a woman's eyes in eliciting erotic desire was particularly emphasized by the Provençal poets, as N.E. Griffin points out: According to this description, love originates upon the eyes of the lady when encountered by those of her future lover. The love thus generated is conveyed on bright beams of light from her eyes to his, through which it passes to take up its abode in his heart."
"identified as cherubim. Another famous example is ""Amor Vincit Omnia"" by Caravaggio. In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentine's Day. In Greek mythology, Hebe is the goddess of youth, always depicted as a young girl. In Roman mythology her equivalent is Juventas. She is the daughter of Zeus and Hera. Hebe was the cupbearer for the gods and goddesses of Mount Olympus, serving their nectar and ambrosia. She was also worshipped as a goddess of pardons or forgiveness; freed prisoners would hang their chains in the sacred"
"Venus and Amor Venus and Amor (also known as Venus and Cupid) is a c. 1524 painting by the German painter and printmaker Hans Holbein the Younger, conserved in the Kunstmuseum Basel, Switzerland. Although the work is Holbein's earliest mythological painting, depicting the Roman goddess of love, Venus, with her son Amor (Cupid), the model is believed to be his friend Magdalena Offenburg. They are shown in front of a large hanging green curtain and behind a low parapet. Venus is depicted with an open gesture and sincere gaze. Cupid is seen climbing onto the parapet while holding love's arrow"
"Cupid In classical mythology, Cupid (Latin Cupīdō , meaning ""desire"") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the war god Mars. He is also known in Latin as """" (""Love""). His Greek counterpart is Eros. Although Eros is generally portrayed as a slender winged youth in Classical Greek art, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who"
"every way, but with long hair and plumed butterfly wings. He has been described also as armed with either a golden club or arrows of lead. Anteros, with Eros, was one of a host of winged love gods called Erotes, the ever-youthful winged gods of love, usually depicted as winged boys in the company of Aphrodite or her attendant goddesses. An altar to Anteros was put up by the metics in Athens in commemoration of the spurned love of the metic Timagoras who was rejected by the Athenian Meles. Upon hearing Timagoras' declaration of love for him, the young man"
"is shot by Cupid's arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a main character only in the tale of Cupid and Psyche, when wounded by his own weapons, he experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as ""Love conquers all"" and the retaliatory punishment or torture of Cupid. In art, Cupid often appears in multiples as the Amores, or """" in the later terminology of"
"Venus Consoling Love Venus Consoling Love is a painting by François Boucher, from 1751. The painting depicts a mythological scene, where Venus, the goddess of Love, depicted as a charming and supple young woman, is impersonating the French Rococo's beauty ideals. She is about to disarm Cupid, by taking away his arrows, that he uses when shooting at people to make them fall in love. ""In Enlightenment France the dedicated search to define truth engendered a re–evaluation of the natural. The belief that it was right to follow nature, and that the pursuit of pleasure was natural, influenced the prevailing"
"white flower, struck by one of Cupid's arrows, which turned it purple and gave it its magic love potion. When dripped onto someone's eyelids this love potion causes an individual to fall madly in love with the next person they see. In ""A Midsummer Night's Dream"", William Shakespeare uses this flower as a plot device to introduce the comical disturbance and chaos of love, but also to highlight the irrationality of romantic love. Here love is depicted as a sort of benevolent affliction. Shakespeare presents love to be something contradicting to one's normal feelings and ideas. However he also depicts"
"fortunate enough to meet his other half, they are both so intoxicated with affection, with friendship, and with love, that they cannot bear to let each other out of sight for a single instant."" The classical conception of love's arrows were elaborated upon by the Provençal troubadour poets of southern France in the eleventh and twelfth centuries and became part of the European courtly love tradition. In particular, a glimpse of the woman's eyes was said to be the source of the love dart: In some medieval texts, the gaze of a beautiful woman is compared to the sight of"
"Roman poet Ovid does a retelling of this Greek legend, which appears in his work Metamorphoses. The pursuit of a local nymph by an Olympian god, part of the archaic adjustment of religious cult in Greece, was given an arch anecdotal turn in the ""Metamorphoses"" by the Roman poet Ovid (died AD 17). According to this version Apollo's infatuation was caused by a golden-tipped arrow shot at him by Cupid, son of Venus, who wanted to punish Apollo for having insulted his archery skills by commenting ""What hast thou to do with the arms of men, thou wanton boy?"", and"
"wearing a helmet and carrying a buckler, perhaps in reference to Virgil's ""Omnia vincit amor"" or as political satire on wars for love, or love as war. Cupid In classical mythology, Cupid (Latin Cupīdō , meaning ""desire"") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the war god Mars. He is also known in Latin as """" (""Love""). His Greek counterpart is Eros. Although Eros is generally portrayed as a slender winged youth in Classical Greek art, during the Hellenistic period, he was increasingly portrayed"
"During the English Renaissance, Christopher Marlowe wrote of ""ten thousand Cupids""; in Ben Jonson's wedding masque ""Hymenaei"", ""a thousand several-coloured loves ... hop about the nuptial room"". In the later classical tradition, Cupid is most often regarded as the son of Venus and Mars, whose love affair represented an allegory of Love and War. The duality between the primordial and the sexually conceived Eros accommodated philosophical concepts of Heavenly and Earthly Love even in the Christian era. Cupid is winged, allegedly because lovers are flighty and likely to change their minds, and boyish because love is irrational. His symbols are"
"the Greeks put it, ""theia mania"" (""madness from the gods""). This love passion was described through an elaborate metaphoric and mythological psychological schema involving ""love's arrows"" or ""love darts,"" the source of which was often given as the mythological Eros or Cupid, sometimes by other mythological deities (such as Rumor). At times, the source of the arrows was said to be the image of the beautiful love object itself. If these arrows arrived at the lover's eyes, they would then travel to and 'pierce' his or her heart, overwhelming them with desire and longing (love sickness). The image of the"
"Artemis, she had golden bow and arrows, as her epithet was Khryselakatos (""of the Golden Shaft"") and Iokheira (""showered by arrows""). The arrows of Artemis could also bring sudden death and disease to girls and women. Artemis got her bow and arrow for the first time from The Kyklopes, as the one she asked from her father. The bow of Artemis also became the witness of Callisto's oath of her virginity. In later cult, the bow became the symbol of waxing moon. Artemis' chariot was made of gold and was pulled by four golden horned deer (Elaphoi Khrysokeroi). The bridles"
"description entitled ""Cupids"" (""Erotes""), Philostratus portrays a ""swarm"" of cupids in a fragrant garden gathering apples, kissing the apples and throwing them back and forth, engaging in archery using themselves as targets since the arrows are arrows of love, wrestling, and chasing a hare (a symbol of fertility). While the cupids are cavorting, nymphs are attending to a statue of Venus that is garnished with a silver mirror, gilded sandals, and golden brooches. Both Titian and Rubens in his copy depict most of this activity in great detail. The fourth book (April) of Ovid's ""Fasti"" also served as inspiration for"
"these emblems are as relevant today as they would have to a seventeenth-century audience. A few examples of these mottoes read: ""A Wished Warre: The woundes that lovers give are willingly receaved..."" He goes on to quote Cicero and Seneca on this theme and depicts two Cupids exchanging arrows. Another example familiar to us today as the story of The Tortoise and the Hare (originally a fable by Aesop), is titled ""Perseverance winneth: The hare and the tortes layd a wager of their speed ..."" shows us a cupid and tortoise outpacing the hare and exemplifying the idea that the"
"""Metamorphoses"". When Apollo taunts Cupid as the lesser archer, Cupid shoots him with the golden arrow, but strikes the object of his desire, the nymph Daphne, with the lead. Trapped by Apollo's unwanted advances, Daphne prays to her father, the river god Peneus, who turns her into a laurel, the tree sacred to Apollo. It is the first of several unsuccessful or tragic love affairs for Apollo. A variation is found in ""The Kingis Quair"", a 15th-century poem attributed to James I of Scotland, in which Cupid has three arrows: gold, for a gentle ""smiting"" that is easily cured; the"
"Hero and Leander Hero and Leander is the Greek myth relating the story of Hero (, ""Hērṓ""; pron. like ""hero"" in English), a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Hellespont (today's Dardanelles), and Leander (, ""Léandros""), a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to spend time with her. Hero would light a lamp at the top of her tower to guide his way. Succumbing to Leander's soft words and to his"
"a basilisk. Giovanni Boccaccio provides one of the most memorable examples in his ""Il Filostrato"", where he mixes the tradition of love at first sight, the eye's darts, and the metaphor of Cupid's arrow: ""Nor did he (Troilus) who was so wise shortly before... perceive that Love with his darts dwelt within the rays of those lovely eyes... nor notice the arrow that sped to his heart."" William Shakespeare pays a handsome (posthumous) tribute to Christopher Marlowe, who himself wrote ""Who ever loved that loved not at first sight?"" in his 1598 poem ""Hero and Leander"", by citing him the"
"Erato In Greek mythology, Erato (; Ancient Greek: Ἐρατώ) is one of the Greek Muses. The name would mean ""desired"" or ""lovely"", if derived from the same root as Eros, as Apollonius of Rhodes playfully suggested in the invocation to Erato that begins Book III of his ""Argonautica"". Erato is the Muse of love poetry. In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she has mostly been shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument often associated with Apollo. In Simon"
"to demonstrate the power of love's arrow. Eros also shot Daphne, but with a leaden-tipped arrow, the effect of which was to make her flee from Apollo. Elated with sudden love, Apollo chased Daphne contuinally. He tried to make her cease her flight by saying he doesn't wish to hurt her. When she continued fleeing, Apollo lamented that even though he had the knowledge of medicinal herbs, he had failed to cure himself from the wound of Cupid's arrow. When Apollo had caught up with her, Daphne prayed for help to her father, the river god Peneus of Thessaly, who"
"flowers pertain to the Greek Mythology of the origin of the anemone flower featuring Adonis and Aphrodite. The goddess Aphrodite kept the mortal man Adonis as a lover; when Adonis was gored by a wild boar, Aphrodite's tears at his death mixed with his blood and gave rise to the Anemone flower. In other versions, the boar was sent by other jealous Greek gods to murder Adonis. These origin stories reflect the Classical dual meanings of the arrival of spring breezes and the death of a loved one. In the Victorian language of flowers, the anemone represented a forsaken love"
"they were chaste maidens primeval, but hot Eros was angered against their maiden girdles, and drawing a shaft of love he spoke thus to the marriage-hating nymphs: ' Naiad Abarbarea, so fond of your maidenhood, you too receive this shaft, which all nature has felt. Here I will build Callirhoe's bridechamber, here I will sing Drosera's wedding hymn ... and from his [i.e. Eros] backbent bow let fly three shots. Then in that watery bower he joined in love sons of the soil to the Naiads, and sowed the divine race of your family.'"""" Drosera (naiad) In Greek mythology, Drosera"
"the ""Gesta Danorum"" version of the story, Baldr and Höðr are rival suitors, and Höðr kills Baldr with a sword named Mistilteinn (Old Norse ""mistletoe""). In addition, a sword by the same name appears in various other Norse legends. Mistletoe figured prominently in Greek mythology, and is believed to be the Golden Bough of Aeneas, ancestor of the Romans. Also in Greek mythology mistletoe was used by heroes to access the underworld. The Romans associated mistletoe with peace, love and understanding and hung it over doorways to protect the household. Hanging mistletoe was part of the festival of Saturnalia. When"