Pygmalion And Galatea Quotes

Galatea never does quite like Pygmalion: his relation to her is too godlike to be altogether agreeable.

As for Pygmalion, I accepted him exactly as Ovid made him. The term “incel” wasn’t in wide circulation when I wrote this, but Pygmalion is certainly a prototype.

Still others (myself included) have been disturbed by the deeply misogynist implications of the story. Pygmalion’s happy ending is only happy if you accept a number of repulsive ideas: that the only good woman is one who has no self beyond pleasing a man, the fetishization of female sexual purity, the connection of the “snowy” ivory with perfection, the elevation of male fantasy over female reality.

He paused, and stole a glance at his wife. It was as he had feared. She had congealed. Like some spell, the name Jackson had apparently turned her to marble. It was like the Pygmalion and Galatea business working the wrong way round. She was presumably breathing, but there was no sign of it.

Galatea never does quite like Pygmalion: his relation to her is too godlike to be altogether agreeable.

Venus herself graced their marriage with her presence, but what happened after that we do not know, except that Pygmalion named the maiden Galatea, and that their son, Paphos, gave his name to Venus’ favorite city.

Pygmalion's happy ending is only happy if you accept a number of repulsive ideas: that the only good woman is one who has no self beyond pleasing a man, the fetishization of female sexual purity, the connection of the "snowy" ivory with perfection, the elevation of male fantasy over female reality. Galatea does not speak at all in Ovid's version. Even more tellingly, she is not given a name—that was one of the few details I took from other sources. She is only called 'the woman.' She is meant to be a compliant object of desire and nothing more.

Each twisted preference designed to destabilise my sense of identity, to shape me into the wife he wanted me to be: compliant and isolated, uncertain and dependent. A wife who mirrored his interests, as though he were Pygmalion and I Galatea, carved from ivory, every sweep of my desires a product of his creation. A woman who didn’t dare leave the house for too long in case I missed his calls: those regular daily interactions designed to keep me at home, entirely reliant on him.

It Was Not Pygmalion And it was not Galatea. It was you and me. And unlike Galatea, I was not perfect. I had to grow. And you were no sculptor. You were more like a gardener. And if so, then I was more like a shrub. I was a beautiful, little shrub in a well-kept garden. I had tender green leaves, and was most obedient. I would stay very still and your eyes would shine down like twin suns, until one night you caught me at it. I had uprooted my roots and was prancing about. I thought you were sleeping. You watched in silence. At last you said, “A plant with feet is not natural.” But oh mother, let me assure you, the effort required was very painful.   (From the sequence: ‘From Baby F With Much Love’)

I am going to tell a story: Once Upon A Time there was a man and a woman. The man and the woman were dreaming. The man and the woman dreamed each other and when they finished dreaming they had invented each other. So I am going to tell the story of a dream: Once upon a time there was a couple: the ideal couple, the perfect couple, the archetypal couple, who would combine in their two faces the features of all the lovers of history, all those who might have been able to fall in love with each other, all those ever imagined by the poets, and all those unimagined yet. They were (or would be) Abelard and Héloïse, Venus and Tannhäuser, Hamlet and Ophelia, Agathe and Ulrich, Solomon and the Shulamite maiden, the Consul and Yvonne, Daphnis and Chloe, Percy and Mary Shelley, the narrator and Albertine, Jocasta and Oedipus, Hans Castorp and Clavdia Chauchat, Pygmalion and Galatea, Othello and Desdemona, Penelope and Ulysses, Baudelaire and Jeanne Duval, Laura and Petrarch, Humbert Humbert and Lolita, Elizabeth Barrett and Robert Browning, Alonso Quijano and Dulcinea, Leda and the Swan, Adam and Eve, Wagner and Cosima, Pelléas and Mélisande, Cleopatra and Mark Antony, Calisto and Melibea, Faust and Gretchen, Orpheus and Eurydice, Romeo and Juliet, Heathcliff and Cathy, Tristan and Isolde, Rilke and Lou Andreas-Salome, Jason and Medea, Miranda and Ferdinand, Kafka and Milena, Electra and Agamemnon, Don Juan and Thisbe, von Aschenbach and Tadzio, Poe and Annabel Lee, Borges and Matilde Urbach. As the curtain rises they are kissing each other passionately in the middle of a steamy, shadowed park, underneath the pines. Is this not perhaps the ideal beginning of any love story? Not to forget that there is also a unicorn, a tree laden with garnet-colored fruit, and a large neon sign hanging above them both that reads: A Mon Suel Desir. If we look carefully we will notice that the park is surrounded by water on all sides—that is, this is an island. The story might well begin at any moment.