Nymphs

NYMPHS. - In Greek religion, divine maidens (νύμφαι), daughters of Zeus, who animate with their invisible presence every aspect and manifestation of nature. They inhabit mountains, meadows, trees, woods and waters and are therefore distinguished into: Oreads, Napeae, Dryads and Hamadryads, Naiads and Hyades. The nymphs of the seas form a separate group: Nereids and Oceanids.

The nymphs also derive their name from the regions where they were worshiped or from local cults, such as the Ideae from Crete, the Peliades from Mount Pelion, the Nysiades, companions of Dionysus's childhood, etc. They are protectresses of thermal springs (Pindar, Olymp., XII, 19; Diodorus, V, 3, 4) and as such were worshiped in Campania, especially at Pozzuoli and Ischia (Nitrodes or Nitrodiae). The nymphs also choose caves as their dwelling, a belief dating back to archaic cult and surviving into the Christian era; in various regions of Greece grottoes were dedicated to them, of which an interesting example remains that of Vari, on the slopes of Hymettus (K. Weller, in American Journal

Archaeology, 7 [1903], p. 263 ff.). They form part of the retinue of the major divinities such as Artemis, Dionysus and Poseidon, are often associated with the cult of minor rustic divinities, in struggle against the snares of the satyrs, and not rarely seek the love of mortals, as in the case of Hylas and Daphnis. In Italic and Roman religion, under the name of Lymphae, Lumpae, Lumphiae (Diumpais in the Oscan inscription of Agnone) they inhabit and protect watercourses. In later times special buildings were dedicated to them, of a character between the sacred and the profane, called "nymphaea". A prophetic ecstasy was due to the influence of the nymphs, and those who were seized by it were called νυμφάληπτοι (Lat. lymphati, or lymphatici). They also favored nuptial rites and in funerary inscriptions dedicated to children they had charge of their souls (CIG 997; 6201; 6293). Ancient literature soon took possession of their figures, surrounding them with a note of gentleness and graceful epithets. They show themselves benevolent to mortals and compassionate helpers in their misfortunes (cf. the chorus of Oceanids in Aeschylus's Prometheus). Art depicts them in bas-reliefs, barefoot, their hair in the wind, their faces smiling and their garments stirred by the movement of the dance (v. the description of the grotto of the nymphs in Longus, I-IV).

Lanfranco Fiore