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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 more compelling silver; and steel, for a love-wound that never heals.
complaining that so small a creature shouldn't cause such painful wounds.
Cupid carries two kinds of arrows, 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.
In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentine's Day.
The Romans reinterpreted myths and concepts pertaining to the Greek Eros for Cupid in their own literature and art, and medieval and Renaissance mythographers conflate the two freely.
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.
In art, Cupid often appears in multiples as the Amores, or in the later terminology of 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.
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.
In the Greek tradition, Eros had a dual, contradictory genealogy.