Nymph

A nymph (Ancient Greek: νύμφη, romanized: nýmphē; Attic Greek: [nýmpʰɛː]; sometimes spelled nymphe) is a minor female nature deity in ancient Greek folklore. Distinct from other Greek goddesses, nymphs are generally regarded as personifications of nature; they are typically tied to a specific place, landform, or tree, and are usually depicted as maidens. Because of their association with springs, they were often seen as having healing properties; other divine powers of the nymphs included divination and shapeshifting. In spite of their divine nature, they were not immortal.
Nymphs are divided into various broad subgroups based on their habitat, such as the Meliae (ash tree nymphs), the Dryads (oak tree nymphs), the Alseids (grove nymphs), the Naiads (spring nymphs), the Nereids (sea nymphs), the Oceanids (ocean nymphs), and the Oreads (mountain nymphs). Other nymphs included the Hesperides (evening nymphs), the Hyades (rain nymphs), and the Pleiades (companions of Artemis).
Nymphs featured in classic works of art, literature, and mythology. They are often attendants of goddesses and frequently occur in myths with a love motif, being the lovers of heroes and other deities. Desirable and promiscuous, nymphs can rarely be fully domesticated, being often aggressive to their mortal affairs. Since the Middle Ages, nymphs have been sometimes popularly associated or even confused with fairies.
The Greek word nýmphē has the primary meaning of "young woman; bride, young wife" but is not usually associated with deities in particular. Yet the etymology of the noun nýmphē remains uncertain. The Doric and Aeolic (Homeric) form is nýmphā (νύμφα).
Modern usage more often applies to young women, contrasting with parthenos (παρθένος) "a virgin (of any age)", and generically as kore (κόρη < κόρϝα) "maiden, girl". The term is sometimes used by women to address each other and remains the regular Modern Greek term for "bride".
Nymphs were sometimes beloved by many and dwelt in specific areas related to the natural environment: e.g. mountainous regions; forests; springs. Other nymphs were part of the retinue of a god (such as Dionysus, Hermes, or Pan) or of a goddess (generally the huntress Artemis).
The Greek nymphs were also spirits invariably bound to places, not unlike the Latin genius loci, and sometimes this produced complicated myths like the cult of Arethusa to Sicily. In some of the works of the Greek-educated Latin poets, the nymphs gradually absorbed into their ranks the indigenous Italian divinities of springs and streams (Juturna, Egeria, Carmentis, Fontus) while the Lymphae (originally Lumpae), Italian water goddesses, owing to the accidental similarity of their names, could be identified with the Greek Nymphae. The classical mythologies of the Roman poets were unlikely to have affected the rites and cults of individual nymphs venerated by country people in the springs and clefts of Latium. Among the Roman literate class, their sphere of influence was restricted and they appear almost exclusively as divinities of the watery element.
The ancient Greek belief in nymphs survived in many parts of the country into the early years of the twentieth century when they were usually known as "nereids". Nymphs often tended to frequent areas distant from humans but could be encountered by lone travelers outside the village, where their music might be heard, and the traveler could spy on their dancing or bathing in a stream or pool, either during the noon heat or in the middle of the night. They might appear in a whirlwind. Such encounters could be dangerous, bringing dumbness, besotted infatuation, madness or stroke to the unfortunate man. When parents believed their child to be nereid-struck, they would pray to the Saint Artemidos (Artemis), an example of "practical polytheism in the worship of the saints."
Nymphs are often depicted in classic works across art, literature, mythology, and fiction. They are often associated with the medieval romances or Renaissance literature of the elusive fairies or elves.
A motif that entered European art during the Renaissance was the idea of a statue of a nymph sleeping in a grotto or spring. This motif supposedly came from an Italian report of a Roman sculpture of a nymph at a fountain above the River Danube. The report, and an accompanying poem supposedly on the fountain describing the sleeping nymph, are now generally concluded to be a fifteenth-century forgery, but the motif proved influential among artists and landscape gardeners for several centuries after, with copies seen at neoclassical gardens such as the grotto at Stourhead.
All the names for various classes of nymphs have plural feminine adjectives, most agreeing with the substantive numbers and groups of nymphai. There is no single adopted classification that could be seen as canonical and exhaustive. Some classes of nymphs tend to overlap, which complicates the task of precise classification. e.g. dryads and hamadryads as nymphs of trees generally, meliai as nymphs of ash trees. According to classicist Robin Hard, these terms "were hardly proper names at all, but feminine adjectives that could be assigned to the noun nymphē at will", adding that "[n]o orthodox or exhaustive classification of such beings was ever attempted, and ancient authors were often careless or arbitrary in the application of such titles".
The following is not the authentic Greek classification, but is intended as a guide:
The following is a list of individual nymphs or groups thereof associated with this or that particular location. Nymphs in such groups could belong to any of the classes mentioned above (Naiades, Oreades, and so on).
The following is a selection of names of the nymphs whose class was not specified in the source texts. For lists of Naiads, Oceanids, Dryades etc., see respective articles.