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And lo, her right elbow stands out and her white forearm is bent back, while she rests her fingers on her delicate shoulder, and her arms are gently rounded, and her breasts project, nor yet is beauty lacking in her thigh.
Her foot, with the graceful part that ends in it, is painted as on the sea and it lightly touches the water as if it were the rudder guiding her chariot.
The atmosphere here is lighter and enlivened by the inclusion of the clowns Momo and Tisbe.
In France, Jean-Baptiste Lully devoted his opera Acis et Galatée (1686) to their love.
Galatea (Γαλάτεια; "she who is milk-white"), daughter of Nereus and Doris, was a sea-nymph anciently attested in the work of both Homer and Hesiod, where she is described as the fairest and most beloved of the 50 Nereids.
In Ovid's Metamorphoses she appears as the beloved of Acis, the son of Faunus and the river-nymph Symaethis, daughter of the River Symaethus.
Shortly afterwards George Frideric Handel was working in that country and composed the cantata Aci, Galatea e Polifemo (1708), laying as much emphasis on the part of Polifemo as on the lovers.
When a jealous rival, the Sicilian Cyclops Polyphemus, killed him with a boulder, Galatea then turned his blood into the Sicilian River Acis, of which he became the spirit.
the story was first concocted by Philoxenus of Cythera as a political satire against the Sicilian tyrant Dionysius I of Syracuse, whose favourite concubine, Galatea, shared her name with the nymph.
Others During Renaissance and Baroque times the story emerged once more as a popular theme.
In Spain Luis de Góngora y Argote wrote the much-admired narrative poem, Fábula de Polifemo y Galatea, published in 1627.