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He was among the primordial gods who came into existence asexually; after his generation, deities were begotten through male-female unions.
In Hesiod's Theogony, only Chaos and Gaia (Earth) are older.
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.
In the Greek tradition, Eros had a dual, contradictory genealogy.
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.
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 Metamorphoses.
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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.