گالاتيا (أسطورة)
گلاتيا (Galatea ؛ //؛ باليونانية: Γαλάτεια؛ "she who is milk-whiteإمرأة في بياض الحليب") is a name popularly applied to the statue carved of ivory by پكماليون من قبرص، which then came to life in الأساطير اليونانية. In modern English the name usually alludes to that story.
Galatea is also the name of Polyphemus's object of desire in ثيوقريطس's Idylls VI and XI and is linked with Polyphemus again in the myth of Acis and Galatea in Ovid's التحولات.
أصل الاسم
Though the name "Galatea" has become so firmly associated with Pygmalion's statue as to seem antique, its use in connection with Pygmalion originated with a post-classical writer. No extant ancient text mentions the statue's name, although Pausanias mentions a statue of Calm, Galene (γαλήνης). As late as 1763, a sculpture of the subject shown by Falconet at the Paris Salon (illustration) carried the title Pygmalion aux pieds de sa statue qui s'anime ("Pygmalion at the feet of his statue that comes to life"). That sculpture, currently at the Walters Art Museum in Baltimore, now bears the expected modern title Pygmalion and Galatea. 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, because of the well known myth of Acis and Galatea; one of Honoré d'Urfé's characters in L'Astrée was a Galatea, though not this sculptural creation.
الأسطورة
The story of Pygmalion appeared earliest in a Hellenistic work, Philostephanus' history of Cyprus, "De Cypro". It is retold in Ovid's التحولات, 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 daughter پافوس—the eponym of مدينة پافوس—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 پافوس في قبرص، 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's cult image of Aphrodite of Knidos, in Aphrodite's temple, was so beautiful that at least one admirer arranged to be shut in with it overnight.
تفسير
The myth indicates that a cult image of أفروديت was instrumental in some way في الأسطورة المؤسسة لمدينة پافوس. It also seems axiomatic, apart from miraculous intervention, that the living representative of a cult image could be none but the chief priestess. Robert Graves gives a socio-political interpretation of the story, as a mythologized overthrow of a matrilineal cult. In his view Pygmalion, the consort of the goddess's priestess at Paphos, kept the cult image of Aphrodite as a means of retaining power during his term, after which, Graves speculates, he refused to give up the goddess's image "and that he prolonged this by marriage with another of Aphrodite's priestesses—technically his daughter, since she was heiress to the throne—who is called Metharme ("change"), to mark the innovation."
پكماليون هوالنسخة اليونانية من الاسم الملكي الفينيقي پوعميةٌ Pumayyaton: انظر پكماليون ملك صور.
انظر أيضاً
- Galene (mythology)
- Galatea of Justice League Unlimited
- Galatea (video game), a work of interactive fiction
- Galatea 2.2
- پكماليون وگلاتيا (مسرحية، 1871).
- پكماليون (أسطورة)
- La Galatea by Miguel de Cervantes
- Galatea is the name of the gynoid in the film Bicentennial Man.
- Galatea is also the name of the main flagship in the 1998 PC game Descent: FreeSpace – The Great War
- Galatea is a dairy farming community in Bay of Plenty, نيوزيلندا
- Gallathea or Galatea بقلم John Lyly
المراجع
- ^ Galene in the Smith Classics Dictionary Archived 2007-10-13 at the Wayback Machine.. The suffix -teia or -theia means "goddess", as in other Nereid names: Amatheia, Psamathe, Leukotheia, Pasitheia, etc. Hesiod has both a Galene ("Calm-Sea") and a Galateia named as Nereids. Galateia as "sea-calm Goddess" seem a likely inference; the reasoning for Galateia as Milky-White comes from the adjectival form of galaktos, galakteia.
- ^ Helen H. Law, "The name Galatea in the Pygmalion myth", The Classical Journal, 27 (1932), pp 337-42; Meyer Reinhold, "The Naming of Pygmalion's Animated Statue" The Classical Journal 66.4 (1971), pp. 316-319: Reinhold notes that the first edition of , 1788, does not have an entry for "Galatea", which was inserted in later editions.
- ^ Pausanias Description of Greece 2.1.9
- ^ Reinhold 1971:316.
- ^ Metamorphoses x.243ff.
- ^ J.L. Carr, "Pygmalion and the philosophes: the animated statue in eighteenth-century France" Journal of the Warburg and Courtauld Institutes 23 (1960), pp 239-55.
- ^ Reinhold, eo. loc..
- ^ According to the Roman Hyginus, Fabula 142, Cinyras was a son of Paphus, thus legitimate in the patrineal manner, but Bibliotheke makes Cinyras an interloper, arriving with some of his people from Syria on the nearest coast of Asia, thus a suitor from outside, in the matrilineal manner; the conflict is instructive.
- ^ Bibliotheke, iii.14.3.
- ^ Recorded in the second-century dialogue Erotes that is traditionally misattributed to لوقيان السميساطي.
- ^ Graves, Robert (1960). The Greek Myths. p. 64.1. ISBN .
وصلات خارجية
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مشاع الفهم فيه ميديا متعلقة بموضوع Galatea (nymph). |
- Galatea the Nereid in classical literature and art
- Galatea depicted with Polyphemus on a golden harpsichord by Michele Todini, Rome, 1675 at The Metropolitan Museum of Art
