The material the archetype gestures at is genuinely deep and much older than the framework. Plato's Symposium treats eros as a desire that begins in the body and can be trained upward toward the beautiful itself; the Christian tradition distinguishes eros from agape and has argued about their relation since Anders Nygren's Agape and Eros (1930) put the distinction sharply; the Sufi and bhakti traditions both use the language of erotic longing for the divine, in Rumi and in the poetry of Mirabai and the Alvars; and the Song of Songs has been read allegorically in both Judaism and Christianity for two millennia. The atlas records these in their own places. The twelve-archetype Lover is a modern abstraction from a very large body of material, and the material is worth going to directly.
Plato's Symposium is more specific than a general claim that eros can be trained upward: in the dialogue's climactic speech, the priestess Diotima describes a "ladder of love" ascending from desire for a single beautiful body, to beauty in bodies generally, to beauty of soul, of laws and institutions, and finally to the Form of Beauty itself, a structured philosophical account of erotic ascent rather than a loose metaphor. A separate, later tradition of codified erotic devotion, the medieval European courtly love literature associated with Andreas Capellanus's twelfth-century treatise De Amore, developed its own independent conventions of longing, service and idealisation, distinct from both the Platonic and the mystical traditions the existing article already surveys.
Sources SymposiumPlato with Agape and ErosAnders Nygren, translated by Philip S. Watson, De AmoreAndreas Capellanus