Despite Pygmalion’s futile attempts to perceive her as a living woman, she remains a non-living piece of ivory. The clearest support for this theory is provided by the very nature of Galatea. An investigation into this subject will reveal that Ovid is, in fact, implying that ideal love is impossible. Through an analysis of the fact that Galatea, the object of devotion in Pygmalion, is a lifeless, ivory sculpture, the idealized concept of woman that she is made to represent, and the lack of reciprocity in her relationship with her lover, I will argue that it is the concept of forbidden love, not passion, that prevails in the Metamorphoses. Recently, it has been maintained by the writer Ted Hughes, who translated the myths, that passion is the main topic of Ovid’s work. Ovid’s Metamorphoses, written in 1 C.E., is a compilation of some of the most popular of these stories and has exerted a lasting influence in Western culture. Greek and Roman mythology, with its colorful setting and vivid characters, constitutes a fascinating realm of imagination, mystery and morality that has entertained and educated for millennia. Liana Bellon’s course entitled Introduction to College English
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