(Critical Guide to British Fiction)

The myth which Till We Have Faces retells is that of Cupid and Psyche, told most familiarly and at greatest length by Lucius Apuleius (born around A.D. 125) in his compilation of stories The Golden Ass, written probably when the author was in his thirties. According to Apuleius, there was once a king who had three daughters, all beautiful. Yet the youngest was so superlatively beautiful that men adored her as Venus. At this, the goddess became jealous, and she sent her son Cupid to inflame Psyche with love for the most despicable creature possible. Cupid, however, fell in love with her himself and carried her off from the stake where she had been left as a sacrifice, to be his bride. In the palace to which he took her, however, he came to her only in the dark, forbidding her to see him. Her sisters learned of this, and in their envy they persuaded Psyche to break the taboo of darkness, giving her a lamp to see her lover. When she lit the lamp, though, a drop of oil fell and woke the sleeping Cupid; Psyche was cast out and punished with many labors by Venus, until in the end she was forgiven and reunited with her husband.

Apuleius’ story is about characters either divine or semi-divine, for Psyche means “soul,” and the tale has often been interpreted allegorically. It also has strong elements of fairy tale, however, including, for example, motifs from “Cinderella”: the weak father, the oppressed but beautiful heroine, and most obviously, the two jealous sisters. What C. S. Lewis has done is to take the Apuleius myth and treat it as a realistic novel, but to insist on telling it not from the “Cinderella” viewpoint but from that of one of the “ugly sisters.” In Lewis’ story, also, the narrator, Orual, is ugly, not simply ordinarily beautiful as in Apuleius. Orual is so ugly that after a certain point she spends her whole life veiled and dies...

(The entire section is 772 words.)