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Galatea (mythology)
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The name "Galatea" Though the name "Galatea" has become so firmly associated with Pygmalion's statue as to seem antique, it originated with a post-classical writer. No extant ancient text mentions her name. As late as 1763, a sculpture of the subject shown by Falconet at the Salon carried the title Pygmalion aux pieds de sa statue qui s'anime. That sculpture, currently at the Walters Art Gallery in Baltimore, now bears the expected modern title Pygmalion and Galatea.
A reference to Galatea in modern English is a metaphor for a statue that has come to life.
According to Meyer Reinhold, the name "Galatea" was first given wide circulation in Jean-Jacques Rousseau's scène lyrique of 1762, Pygmalion.

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The name "Galatea" Though the name "Galatea" has become so firmly associated with Pygmalion's statue as to seem antique, it originated with a post-classical writer. No extant ancient text mentions her name. As late as 1763, a sculpture of the subject shown by Falconet at the Salon carried the title Pygmalion aux pieds de sa statue qui s'anime. That sculpture, currently at the Walters Art Gallery in Baltimore, now bears the expected modern title Pygmalion and Galatea.
A reference to Galatea in modern English is a metaphor for a statue that has come to life.
According to Meyer Reinhold, the name "Galatea" was first given wide circulation in Jean-Jacques Rousseau's scène lyrique of 1762, Pygmalion. The name had become a commonplace of pastoral fictions; one of Honoré d'Urfé's characters in L'Astrée was a Galatea, though not this sculptural creation.
The myth The story of Pygmalion appeared earliest in a Hellenistic work, Philostephanus' history of Cyprus, "De Cypro". It is retold in Ovid's Metamorphoses, where the king Pygmalion is made into a sculptor who fell in love with an ivory statue he had crafted with his own hands. In answer to his prayers, the goddess Aphrodite brought it to life and united the couple in marriage. This novella remained the classical telling until the end of the seventeenth century. The trope of the animated statue gained a vogue during the eighteenth century.
The daemon of Pygmalion's goddess, animating her cult image, bore him a son Paphus—the eponym of the city of Paphos—and Metharme. Of "this ecstatic relationship," Meyer Reinhold has remarked, "there may be lurking a survival of the ancient cult of the Great Goddess and her consort."
Cinyras, perhaps the son of Paphus, , or perhaps the successful suitor of Metharme, founded the city of Paphos on Cyprus, under the patronage of Aphrodite, and built the great temple to the goddess there.
Bibliotheke, the Hellenistic compendium of myth long attributed to Apollodorus, mentions a daughter of Pygmalion named Metharme. She was the wife of Cinyras, and the mother of Adonis, beloved of Aphrodite. Although Myrrha, daughter of Cinyras, is more commonly named as the mother of Adonis.
It was commonly rumored in Roman times that Praxiteles' Aphrodite of Knidos, the cult image in her temple was so beautiful that at least one admirer arranged to be shut in with it overnight.
Galatea was a sea nymph.She was the daughter of the sea god, Nereus.Cyclops,the hideous monster loved her very much.But, Galatea was already in love with another man, Acis,the son of Pan.Once Cyclops got angry that Galatea didn't love him, and he found the young couple on the shore kissing,that he threw Galatea in the ocean,and he chased Acis all over his island and threw rocks at Acis, and Acis died. Cyclops felt ashamed, and ran into his cave.When Galatea reached the shore and saw that her loved one died, she weapt over Acis's dead body. When Galatea's tears mixed with the ocean foam,the sand, and Acis's blood, Acis's body turned into a blue statue,that stands in the middle of the Grece's biggest river,and the gods made Acis,the river god.
See also
- Pygmalion and Galatea, a play first produced in 1871
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