Cupid

Use in the book

The pedigree passage deliberately gathers alternatives. After primordial parentage and the story of Iris and the West Wind, Burton retells the Porus–Penia banquet narrative attributed to Socrates in Plato. The edition’s note identifies major differences from the Platonic account: Burton makes Porus encounter Penia while walking and makes Venus attend Love, rather than Love attend Aphrodite. The article follows Burton’s actual version while keeping those differences visible. His direction to Ficino concerns an allegorical interpretation; it is not evidence that every detail just narrated reproduces Plato or Ficino exactly.

The interpreted body is equally purposeful. Youth signifies the susceptibility of the young; a soft, fair, plump form signifies those readily captivated. Nakedness means openness and simplicity of true affection. The quiver signifies the power to strike, while blindness explains failure to discriminate between targets. Burton attributes this scheme to Phornutus and others. The later proverb changes the function of blindness: Cupid’s followers cannot judge clearly, and the margin compares love with a glass that makes things appear fairer than they are. The earlier indiscriminate striker and the later deceived lover are related but distinct uses of the attribute.

The divine ruler serves claims about domination. Verse makes even Jupiter unable to restrain Cupid. Burton distinguishes possessing something from ruling it, then has Juno call Jupiter Cupid’s spinning plaything. Venus cannot control her own son even by threats against bow and wings or by punishment. Cupid’s boast about riding lions extends the figure’s power to beasts. Yet these claims of universal rule are not exceptionless propositions across the work: Minerva and the Muses resist the arrows in a later Lucianic report, and the courtesan’s combined enticements fail against the steadfast Christian in another reported story.

Cupid’s equipment also turns visible beauty into an agency of capture. Hair becomes his nets and nesting wood; eyes become arrows in the comparison attributed to Scaliger. The “divers Loves” passage broadens the devices to torches, golden apples, darts, traps and snares, carried by figures of different ages and sexes. Burton says some interpret these as multiple affections or enticements: what fails alone may succeed jointly. The following story of resistance prevents the metaphorical siege from guaranteeing conquest. The supplied notes also distinguish Burton’s unresolved Philostratus attribution from the partial parallel in Propertius.

Cupid can also conceal injury behind apparent tenderness. Venus’s warning about her runaway son makes his tears deceptive, his smiles a stronger reason to flee, and his offered kisses poisonous. The source route runs through Moschus, Poliziano’s Latin and a mythographic citation; Burton’s following English stanza is a separate rendering. Although he applies the warning after a hostile comparison about women’s tears, the continuation expressly assigns such guile to men and women alike. A different transfer makes the lover’s wounded heart “Cupids quiver”: the victim’s heart now holds the arrows rather than the god merely carrying their case. The surrounding account calls love a consuming fire. It subsequently borrows Jupiter’s thunderbolts for Cupid to figure a sudden, unseen wound, then presents Cupid blowing coals beneath a pot whose evaporating contents image the lover’s consumption. The temple images remain unverified; the alleged dissection comes through Hoffmann and is not established as Plato or history. Burton’s “belike” also makes the link from that story to the emblem conjectural. The edition locates related pot emblems but leaves his numbering unresolved.

Other features explain love’s effects rather than its capture. Cupid dances, oversees dancers and appears in festive descriptions. Burton combines stories about nectar colouring a rose, the wedding with Psyche, and artistic representations; his handling of Callistratus and Daedalus is qualified in the edition’s notes. The old lover’s dancing then leads to the fable of Cupid and Death exchanging arrows. The exchange is a playful explanation of youthful death and old-age desire, not a medical cause. Its concluding verse strengthens old to dying. A feather from Cupid’s wings becomes the poet’s pen, another playful explanation of the intimate relation between love and literary invention.

The same imagery can undo desire. Ovidian verse says that removing idleness ruins Cupid’s arts and extinguishes his torches. Burton’s contending Cupids exemplify one attachment displacing another; the source note distinguishes his interpretation from Pausanias’s Love and Love Returned. The Love of Forgetfulness puts burning torches into water. The surrounding springs and rivers are reported remedies, and Burton expressly retains an “if” before valuing their powers. His final joke about lovers rebelling against Cupid adapts the literary torment of Cupid in Ausonius rather than prescribing an action.

The two darts give the family its sharpest account of disappointed desire. A sharp golden arrow creates attraction; a blunt leaden arrow repels it. Burton uses the opposition to explain chains in which one person loves someone who dislikes them, while that person desires a third who rejects them in turn. The image supports unequal directions of desire, not a promise that a chosen person will reciprocate. The Latin contrasts “this” leaden dart with “that” golden one.

Related entries

Love: Love’s wider definitions and divisions.

Heroical love: Erotic love as melancholy, beyond the poetic personification.

Daemon and genius: The distinct historical meaning of a great daimon or spirit.

Simulacra: Images, likenesses and their effects.

Glass: The misleading glass as an image of distorted judgment.

Places to read

1. Section 2 Member 1, Subsection 1 Love Melancholy: Its Ancestry, Power and Reach · paragraphs 4–11Alternative genealogies, the Porus–Penia story, related union myths and interpreted attributes. Notes 8563 and note 8567 distinguish Burton’s versions from the supplied Platonic comparisons.
2. Section 2 Member 1, Subsection 1 Love Melancholy: Its Ancestry, Power and Reach · paragraphs 16–21Cupid’s mastery of the gods, Jupiter as a whirligig and Venus’s unsuccessful discipline; original marginal voices remain distinct from Burton’s paraphrase.
3. Section 2 Member 1, Subsection 1 Love Melancholy: Its Ancestry, Power and Reach · paragraph 39Lucian’s Cupid boasts that he rides lions; note 8612 preserves Burton’s Latin version.
4. Subsection 2 How Love Tyrannizes Over Human Beings. Love, or Heroical Melancholy: Its Definition and the Part Affected · paragraph 5Minerva and the Muses as exceptions to the arrows; note 8724 qualifies Burton’s compression of Lucian.
5. Member 2. Subsection 2. Other Causes of Love Melancholy: Sight; Beauty of the Face, Eyes and Other Parts; and How It Pierces Us · paragraphs 31–32Hair, adornment and Cupid’s nets; note 9132 supplies the attributed Latin image.
6. Member 2. Subsection 2. Other Causes of Love Melancholy: Sight; Beauty of the Face, Eyes and Other Parts; and How It Pierces Us · paragraph 47Eyes as Cupid’s arrows, attributed to Scaliger; the attached margin instead quotes Propertius.
7. Persistence and Opportunity of Time and Place; Meetings, Conversation, Singing, Dancing, Music, Amorous Tales and Sights, Kissing, Familiarity, Tokens, Gifts, Bribes, Promises, Declarations, Tears, and So On · paragraphs 24–26Combined attractiveness, the diverse personified Loves, and the following story in which resistance succeeds.
8. Persistence and Opportunity of Time and Place; Meetings, Conversation, Singing, Dancing, Music, Amorous Tales and Sights, Kissing, Familiarity, Tokens, Gifts, Bribes, Promises, Declarations, Tears, and So On · paragraphs 48–52; Subsection 5 Procurers and Love Potions as Causes · paragraph 53Venus’s warning about Cupid’s tears, smiles and kisses, through Moschus/Poliziano and Burton’s separate English; the conclusion includes reciprocal male and female deception.
9. Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraphs 44–46; Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraphs 54–56; Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraphs 62–65the wounded heart as Cupid’s quiver, lightning injury and the tended fire; notes distinguish unverified image/dissection reports, the conjectural link and related emblems.
10. Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraph 28Blind Cupid and blind followers; note 10062 supplies the misleading-glass image.
11. Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraphs 27–36Dancing Cupid, myth and representation, the older dancer and the exchange of arrows with Death; the final verse says dying, not merely old.
12. Member 4 Subsection 1 Symptoms or Signs of Love Melancholy in Body and Mind Good and Bad Signs and So Forth · paragraphs 6–8Love poetry, Cupid’s attendants and the wing-feather imagined as a poet’s pen.
13. The Cure of Love Melancholy by Work, Diet, Medicine, Fasting and Other Means · paragraphs 7–10Occupation against Cupid’s arts; the note preserves the printed artes against the consulted Ovidian reading.
14. Resist the Beginnings, Avoid Occasions, Change One’s Location; Fair and Foul Means, Contrary Passions and Ingenious Devices; Introduce Another Love and Disparage the Former · paragraphs 16–20The opposing Cupids and displacement of one love by another, with qualifications to Burton’s Pausanias and Ciceronian framing.
15. Subsection 4 Love Potions and Magical and Poetic Cures · paragraphs 63–68Love of Forgetfulness, reported waters, the surviving conditional doubt and the literary joke of rebellion against Cupid.
16. Subsection 5 The Last and Best Cure for Love Melancholy Is to Let Lovers Have Their Desire · paragraphs 25–27The golden and leaden darts in the argument about unreturned love.

In this edition

Cupido becomes Cupid in the Latin verse. Porus’s bounty is rendered abundance; Penia retains the explicit Poverty gloss. Naked and the quiver retain their stated allegorical meanings. The English “divers Loves” becomes “various Loves,” keeping the plural personifications rather than reducing the passage to several definitions of love. “Cupids wherlegigg” → “Cupid’s whirligig” preserves Jupiter’s role as the object being turned.

“Cupidinis artes” contributes “Cupid’s arts”: the possessive belongs to the figure and arts names his devices. The editor notes that the consulted Ovidian text has a different noun, but the modern column translates Burton’s printed reading. “Amor Lethes” → “a Love of Forgetfulness” explains the figure’s name without correcting the temple’s printed name. “fugat hoc, facit illud amorem” → “This drives love away; that creates it” retains the opposing demonstratives and their agents. “Cupids quiver” → “Cupid’s quiver” retains the transferred arrow-case in the complete comparison with a lover’s heart. “Take heed of Cupids tears” contributes “beware Cupid’s tears” within a reordered verse sentence: the modern line moves the condition about prudence before the warning. The two verse versions of the warning remain separately aligned. These are selected significant personifications and uses, not a catalogue of every decorative Cupid reference.

Amor Lethes

Printed “Amor Lethes” (Latin; phrase).

Amor means Love; Lethes invokes Lethe, forgetfulness.

Here: The figure puts out burning torches, representing release from an unwanted attachment.

Context: Burton reports Verdurius and invokes Ovid; the supplied note records that his temple-name differs from the Ovidian setting.

Source: original body

Source wording and original alignment: Amor Lethes

Modern rendering: a Love of Forgetfulness

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Blind Cupid · blinde

Printed “blinde” (English; phrase).

Unable to see; in this interpretation, striking without discrimination.

Here: Blindness explains the indiscriminate distribution of erotic attachments.

Context: Burton reports an allegorical explanation, not a description of a physical deity.

Source: original body

Source wording and original alignment: is blinde, because he sees not where he strikes, whom he hits

Modern rendering: he is blind because he does not see where he strikes or whom he hits

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Blind Cupid · Cupid’s blind

Printed “Cupid’s blind” (English; phrase).

Cupid’s conventional blindness, transferred to lovers’ faulty judgment.

Here: The bodily attribute now figures the distorted perception of those in love.

Context: Burton makes a sweeping proverbial comparison; his note likens love to a misleading glass.

Source: original body

Source wording and original alignment: Cupid’s blind, and so are all his followers

Modern rendering: Cupid is blind, and so are all his followers

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Contending Cupids

Printed “one Cupid” (English; phrase).

One personified love opposing another.

Here: The image illustrates Burton’s proposal that one attachment displaces a previous one.

Context: Burton interprets Pausanias’s image; the supplied note distinguishes Love and Love Returned and a palm-branch from Burton’s two Cupids and garland.

Source: original body

Source wording and original alignment: one Cupid was painted to contend with another, and to take the Garland from him

Modern rendering: one Cupid was depicted contending with another and taking the garland from him

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid · Cupido

Printed “Cupido” (Latin; lemma).

Cupid, the personified god or ruling power of erotic love.

Here: The named figure commands the gods, expressing the subjection of even divine rulers to desire.

Context: Burton supplies Latin verse attributed in his margin to Sophocles; its exact intermediary remains unresolved.

Source: original body

Source wording and original alignment: Imperat Cupido etiam diis pro arbitrio

Modern rendering: Cupid commands even the gods as he pleases

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Further local use

Printed “Cupids wherlegigg” (English; phrase).

Citation key: Cupid’s whirligig.

Here: Juno makes Jupiter the plaything that Love turns at will, intensifying dominion rather than merely possession.

Context: Burton reports Lucian’s Juno reproaching Jupiter; Jupiter is the toy, not the agent controlling Cupid.

Source: original body

Source wording and original alignment: thou art Cupids wherlegigg

Modern rendering: you are Cupid’s whirligig

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid

Printed “Cupid” (English; lemma).

The erotic personification imagined as a dancer.

Here: A mythic dancer and representations around his statue support the association between dancing and love.

Context: Burton gathers attributed stories and art descriptions; the editor warns that he conflates Callistratus’s description with sculpture and a comparison to Daedalus.

Source: original body

Source wording and original alignment: Cupid himself to be a great dancer

Modern rendering: Cupid himself a great dancer

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid and Death

Printed “Cupid and Death” (English; phrase).

Personified Love and Death, two imagined agents who exchange arrows.

Here: Their exchanged weapons explain, playfully, young deaths and erotic infatuation in old age.

Context: Burton presents an explanatory fable after the older lover’s dancing; the following verse says dying rather than merely old.

Source: original body

Source wording and original alignment: Cupid and Death met both in an Inne

Modern rendering: Cupid and Death met at an inn

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupidinis artes

Printed “Cupidinis artes” (Latin; phrase).

Cupidinis means Cupid’s; artes means arts, skills or devices.

Here: The proposed removal of idleness disables personified Love’s methods.

Context: The conditional is adapted Ovidian verse in Burton’s historical cure discussion; the printed artes differs from the consulted Ovidian arcus.

Source: original body

Source wording and original alignment: Otia si tollas, periêre Cupidinis artes

Modern rendering: Take away idleness, and Cupid’s arts are ruined

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: Cupidinis supplies the possessive and artes the methods; removal of idleness is the condition, not the phrase’s definition.

Cupid’s arrows

Printed “his arrows could not pierce them” (English; phrase).

The arrows are Cupid’s means of instilling erotic desire; the negation marks their failure.

Here: Minerva and the Muses are presented as exceptions to his otherwise sweeping rule.

Context: Burton reports Cupid complaining to Venus in Lucian; the edition notes that his only exceptions compress the fuller dialogue.

Source: original body

Source wording and original alignment: his arrows could not pierce them

Modern rendering: they could not be pierced by his arrows

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid’s deceptive enticements

Printed “Cupids tears” (English; family).

Cupid’s tears: the personified Love’s deceptive weeping, accompanied here by smiles and poisonous kisses.

Here: The tears feign vulnerability and the offered kisses conceal harm. Venus’s warning is mediated through Moschus, Poliziano and a mythographic citation; Burton then gives separate English verse.

Context: Burton applies the myth to guile after attacking women’s tears, but the continuation expressly extends deception to both men and women.

Source: original body

Source wording and original alignment: Take heed of Cupids tears

Modern rendering: beware Cupid’s tears

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Alignment qualification: The opening Take heed becomes beware within a reordered verse sentence; If you are prudent precedes it in the modern line, corresponding to if cautelous later in Burton’s first line.

Cupid’s nets

Printed “Cupids nets” (English; phrase).

Nets are traps; hair is metaphorically the means of erotic capture.

Here: The figure converts bodily appearance and artificial adornment into Cupid’s equipment.

Context: Burton’s summing-up follows conjectural claims about fashions and an attributed image in the margin.

Source: original body

Source wording and original alignment: The hairs are Cupids nets, to catch all comers

Modern rendering: hair is Cupid’s net, to catch everyone who comes near

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Further local use

Printed “Cupids arrows” (English; phrase).

Citation key: Cupid’s arrows.

Here: Eyes become instruments of erotic capture, analogous to hair as nets but using the distinct wound-image.

Context: Burton attributes the comparison to Scaliger; the attached margin actually quotes Propertius.

Source: original body

Source wording and original alignment: Scaliger calls the eyes, Cupids arrows

Modern rendering: Scaliger calls the eyes Cupid’s arrows

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid’s quiver

Printed “quiver” (English; phrase).

A case for arrows, here an attribute of Love’s power to wound.

Here: The equipment symbolizes inescapable erotic influence in the reported interpretation.

Context: The universal claim is rhetorical and must be read beside later named exceptions and stories of resistance.

Source: original body

Source wording and original alignment: hath a quiver, to shew his power, none can escape

Modern rendering: he carries a quiver to show his power, which no one can escape

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid’s two darts

Printed “two darts” (English; phrase).

Two opposed arrows, one creating love and the other repelling it.

Here: The golden sharp dart and the blunt leaden dart explain asymmetric attraction and rejection.

Context: Burton draws the distinction from Ovid and sets it in a chain of people loving those who dislike them.

Source: original body

Source wording and original alignment: Cupid hath two darts, one to force love, all of gold, and that sharp

Modern rendering: Cupid has two darts: one to compel love, entirely of gold and sharp

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Alignment qualification: The aligned unit describes the first dart; the leaden second dart is defined from the remainder of the same checked source pair, not supplied as part of this quoted unit.

Further local use

Printed “fugat hoc, facit illud amorem” (Latin; phrase).

Citation key: Fugat hoc, facit illud amorem.

Here: Hoc points to the nearer leaden dart; illud to the previously described golden dart.

Context: Burton rearranges Ovid’s wording around his own explanation; the opposing agents are the two darts.

Source: original body

Source wording and original alignment: fugat hoc, facit illud amorem

Modern rendering: This drives love away; that creates it

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: Fugat is drives away, facit creates, hoc this and illud that; amorem is the love repelled or produced.

Cupid’s wings

Printed “Cupids wings” (English; phrase).

Cupid’s feathered wings, imagined as the source of a poet’s pen.

Here: The feather becomes a playful explanation of love-inspired poetry.

Context: Burton follows a maxim attributed to Nevisanus with his own figurative generalization, not a biographical proof about every poet.

Source: original body

Source wording and original alignment: taken a quill from Cupids wings

Modern rendering: taken a quill from Cupid’s wings

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Cupid’s wounding and consuming influence

Printed “Cupids quiver” (English; family).

Cupid’s quiver: an arrow-case figuratively transferred to the lover’s wounded heart.

Here: The heart holds Cupid’s arrows as though it were his quiver. This differs from a weapon-case worn by the god: the suffering target becomes the container. Related local images give personified Love destructive power through lightning and a fire he tends.

Context: Burton’s figurative catalogue of love’s anguish, warfare, wounds and consuming fire, following an altered Philostratean example of frustrated desire.

Source: original body

Source wording and original alignment: a Lovers heart is Cupids quiver

Modern rendering: a lover’s heart is Cupid’s quiver

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Further local use

Printed “Cupid” (English; family).

Citation key: Cupid’s wounding and consuming influence.

Here: Cupid is personified erotic Love; Jupiter’s thunder-bolts are his borrowed lightning weapons. They figure a sudden wound whose entry cannot be perceived, distinct from the heart-as-quiver transfer. Burton’s reported temple images are not independently established by the supplied note.

Context: Burton explains a claimed ancient representation through the preceding comparison of love’s fire to lightning; the marginal title supplies no author or location.

Source: original body

Source wording and original alignment: Cupid in many of their Temples with Jupiters thunder-bolts in his hands

Modern rendering: Cupid in many of their temples with Jupiter’s thunderbolts in his hands

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Further local use

Printed “Cupid blowing the coals” (English; family).

Citation key: Cupid’s wounding and consuming influence.

Here: Cupid blows on the coals to intensify the emblematic fire under a pot. The ensuing verse compares evaporating water with love consuming its own entrails, then its supposed vital moisture. Belike makes the claimed connection to the preceding dissection story conjectural.

Context: Burton reports Hoffmann’s alleged Platonic dissection without establishing it, then conjectures its relation to an emblem. The edition identifies related emblems but leaves Burton’s numbering unresolved.

Source: original body

Source and modern wording: Cupid blowing the coals

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Divers Loves

Printed “divers Loves” (English; phrase).

Multiple personified figures of erotic love.

Here: Their diverse bodies and equipment signify different enticements or affections acting together.

Context: Burton tentatively connects the imagery with combined attraction and attributes the interpretation to some; the next story shows resistance.

Source: original body

Source wording and original alignment: makes divers Loves

Modern rendering: represents various Loves

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Alignment qualification: The body names Philostratus, but the margin’s Images of the Gods reference remains unresolved; the edition’s Propertius parallel accounts for only part of the catalogue.

Naked Love

Printed “naked” (English; phrase).

Unclothed; allegorically, undisguised or open affection.

Here: Nakedness is one of the visible attributes from which the mythographers infer Love’s character.

Context: Burton reports interpretations attributed to Phornutus and others; all true affection is part of the allegorical claim.

Source: original body

Source and modern wording: naked, because all true affection is simple and open

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.

Porus and Penia

Printed “Porus” (English; family).

Porus is personified resource or abundance; Penia is personified poverty.

Here: Their parentage gives Love an allegorical ancestry combining abundance with want.

Context: Burton retells what Socrates recounts in Plato and directs the reader to Ficino for an allegorical interpretation; his wording changes important actions from the Platonic story.

Source: original body

Source wording and original alignment: Porus the God of bounty and wealth; Penia or poverty

Modern rendering: Porus, the god of abundance and wealth. Penia, or Poverty

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: Each name has its own explanation: Porus is glossed by abundance/wealth, Penia by Poverty.

Alignment qualification: The alignment spans the modern sentence break between the two named figures; it preserves the two coordinated descriptions without suggesting that the names are synonyms.

Further local use

Printed “Penia” (English; lemma).

Citation key: Penia.

Here: Penia supplies the wanting or needy side of Love’s reported parentage.

Context: Burton’s mythic narration, framed by the Socrates/Plato attribution and Ficino’s moral interpretation.

Source: original body

Source wording and original alignment: Penia or poverty

Modern rendering: Penia, or Poverty

Alignment scope: Equal-scope phrase/construction in the paired body texts

Word and construction: The indexed form contributes the defined sense to this complete aligned unit.