A nymph (Ancient Greek: νύμφη, romanized: nýmphē, Modern Greek: nímfi; Attic Greek: [nýmpʰɛː], Modern Greek: [ˈniɱfi]; 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, are typically tied to a specific place or landform, and are usually depicted as maidens. They were immortal like other goddesses, except for the Hamadryads, whose lives were bound to a specific tree.^[1]

They are often divided into various broad subgroups, such as the Meliae (ash tree nymphs), the Dryads (oak tree nymphs), the Naiads (freshwater nymphs), the Nereids (sea nymphs), and the Oreads (mountain nymphs).^[2]

Nymphs are often featured in classic works of art, literature, mythology, and fiction. 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).^[3]

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).^[4]

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.^{[citation needed]}

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".^[5] 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.^[6] 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 Saint Artemidos.^[7][8]

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.^[9][10]

A motif that entered European art during the Renaissance was the idea of a statue of a nymph sleeping in a grotto or spring.^[11][12][13] This motif supposedly came from an Italian report of a Roman sculpture of a nymph at a fountain above the River Danube.^[14] 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.^[15][16][17]

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.^[18] 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.^[18]

• Hylas and nymphs from a mosaic in Roman Gaul (3rd century)
• Fight between Nymph and Satyr, Naples National Archaeological Museum
• The Nymph of the Spring
  by Lucas Cranach the Elder
  National Gallery of Art
  (c. 1537)
• Nymphe and Satyr by Nicolas Poussin - Pushkin Museum, Moscow (between 1626 and 1628)
• A Sleeping Nymph Watched by a Shepherd by Angelica Kauffman (about 1780, V&A Museum no. 23-1886)
• Satyr and nymph by Konstantin Makovsky (1864)
• Nymphs and Satyr by William-Adolphe Bouguereau (1873)
• The Pleiades by Elihu Vedder (1885)
• A naiad by Luis Ricardo Falero (1892)
• The Souls of Acheron by Adolf Hirémy-Hirschl (1898)
• Young oread, on German porcelain plate (late 19th century)
• The Cave of the Storm Nymphs by Sir Edward John Poynter (1903)
• Echo, an Oread (mountain nymph) watches Narcissus in this 1903 painting of Echo and Narcissus by John William Waterhouse
• Nymph with morning glory flowers by Jules Joseph Lefebvre
• La Nymphe de la Foret by Guillaume Seignac
• Statue of a Nymph with Cornucopia by Đorđe Jovanović in Dunavski park, Novi Sad (1912)
• Nymphe by Gaston Bussière (1929)