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This note argues that the second line of the oracle in Apuleius’ Cupid and Psyche (Met. 4.33.1) alludes to Ovid’s Am. 1.1.2. Like its Ovidian model, Apuleius’ line marks a shift in genre, and offers a further hint of the role Cupid will play in the rest of the story.

Generically speaking, Propertius 3.10 is a genethliakon (birthday poem) and most of the scholarship on it has followed Cairns' seminal study of its place within and play with the topoi of this genre. The common interpretation is that Propertius uses these three mythological exempla because they all revolve around grief and the absence of mourners is one of the topoi of the genre. Since the three figures in the verses represent perpetual mourning, the interdiction of their grief in particular shows the extent of Propertius' desire to banish any traces of such activity on this day. Here, Fletcher examines the use of metamorphosis myths in 3.10.

Virgil is known for the care with which he chooses his epithets, but one such choice has received too little attention: in Aeneid 6, as the Sibyl is about to respond to the boatman Charon's complaint about living people coming to the underworld, the poet calls her Amphrysia uates.