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In Greek mythology, Pygmalion (/ p ɪ ɡ ˈ m eɪ l i ən /; Ancient Greek: Πυγμαλίων Pugmalíōn, gen.: Πυγμαλίωνος) was a legendary figure of Cyprus . He is most familiar from Ovid 's narrative poem Metamorphoses , in which Pygmalion was a sculptor who fell in love with a statue he had carved.
Falconet's 1763 sculpture Pygmalion and Galatea (Walters Art Museum, Baltimore). Galatea (/ ˌ ɡ æ l ə ˈ t iː ə /; Ancient Greek: Γαλάτεια; "she who is milk-white") [1] is the post-antiquity name popularly applied to the statue carved of ivory alabaster by Pygmalion of Cyprus, which then came to life in Greek mythology.
A statue carved out of ivory by Pygmalion. Pygmalion fell in love with Galatea and after Pygmalion had sacrificed to Venus (mythology) during her festival, Galatea was made into a real woman. X: 247-297 [102] Ganymede: Son of the Dardanian King Tros and brother of Ilus (the founder of Ilion) and Assaracus (the grandfather of Aeneas). X: 155 ...
In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era British playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871.
The myth of Myrrha and Cinyras is sung by Orpheus in the tenth book of Metamorphoses after he has told the myth of Pygmalion [d] and before he turns to the tale of Venus and Adonis. [19] As the myth of Myrrha is also the longest tale sung by Orpheus (205 lines) and the only story that corresponds to his announced theme of girls punished for ...
Pygmalion and Galatea are two characters from Greco-Roman mythology. Pygmalion and Galatea may also refer to: Pygmalion and Galatea, a play by W. S. Gilbert; Pygmalion and the Image series, a series of paintings by Edward Burne-Jones; Pygmalion and Galatea (Gérôme painting), a painting by Jean-Léon Gérôme
It contained a narration of the story of the mythical Pygmalion, of Cyprus, who fashioned a cult image of the Greek goddess Aphrodite that came to life. Ovid depended on the account by Philostephanus for his dramatised and expanded version in Metamorphoses, through which the Pygmalion myth [4] was transmitted to the medieval and modern world. [5]
The story was combined with and inflected the modern re-telling of the Pygmalion myth, especially in its treatment by George Bernard Shaw as the 1913 play Pygmalion, though Henry Higgins does not, in the play, display any romantic attraction to Eliza Doolittle whatsoever; thus, the parallel with the 'king and the beggar-maid' is not valid.