پاندورا

پاندورا (به یونانی: Πανδώρα)، در اسطوره‌های یونان، نخستین زن روی زمین است.

هفائستوس او را به دستور زئوس از آب و گِل ساخت تا پرومتئوس که با انسان‌ها دوستی می‌کرد را مجازات کند. خدایان به او نعمت‌های فراوانی بخشیدند؛ آفرودیته به او زیبایی بخشید، آپولو موسیقی، هرمس اعتقادات دینی و هر خدای المپین دیگری نیز به همین ترتیب هدیه‌ای به پاندورا داد؛ از این رو در پایان هرمس نام پاندورا به معنی «تمام نعمت‌ها» را روی او می‌گذارد.

پرومتئوس او را از زئوس نپذیرفت، اما برادرش اپیمتئوس او را به همسری برگزید.

پاندروا در جعبه‌ای که گفته شده بود هرگز نگشاید، گشود و مصیبت‌ها بر روی زمین پراکنده شد. تنها امید در جعبه باقی ماند تا تسلای بشر باشد.[۱]

جستارهای وابسته [ویرایش]

فهرست شخصیت‌ها، مکان‌ها و رویدادهای افسانه‌ای یونان باستان
منابع [ویرایش]

↑ ویل دورانت،۸۷۰
دورانت، ویل. تاریخ تمدن، یونان باستان (جلد دوم). ترجمهٔ امیرحسین آریان‌پور و دیگران. سرویراستار، محمود مصاحب. چاپ ششم. تهران: شرکت انتشارات علمی و فرهنگی، ۱۳۷۸. ISBN 964-445-001-9.
در ویکی‌انبار پرونده‌هایی دربارهٔ پاندورا موجود است.
رده‌ها: اساطیر یونانی افسانه‌های آفرینش

قس عربی
باندورا (بالإغریقیة:Πανδώρα أی "المرأة التی منحت کل شیء") هی أول امرأة یونانیة وجدت على الأرض طبقا للعقیدة الیونانیة. خلقت بأمر من زیوس، وتم خلقها حسب الأسطورة من الماء والتراب ومنحت العدید من المزایا مثل الجمال والإقناع وعزف الموسیقى.

القصة ان البطل الاغریقی الشهیر برومیثیوس بعد أن قدم خدمة کبیرة ل"زیوس " اله الاغریق الوثنی فان زیوس کافئ برومیثیوس بأن وهبه الارض کلها وهی مکأفاة جزیلة، وحین صار برومیثیوس مسؤولا عن الارض قرر ان یعلم الانسان اشیاء کثیرة حتى انه خرق فی سبیل هذا کثیر من قواعد " سادة الأولیمب "، وجاءت الطامة حین سرق برومیثیوس سر النار من الالهة وعلمه للبشر وصار البشر یقدرون ان یشعلوا النار ویستخدموها وهنا قرر الالهة ان یعاقبوه بصرامة، فربطوه بین جبلین وکل یوم یاتی رخ عملاق لیأکل کبده فاذا جاء اللیل نبت له کبد جدید وهکذا الم ومعاناة کل یوم حتى جاء البطل هرقل وخلص برومیثیوس من هذا العذاب القاتل، وعاد برومیثیوس للبشر ففرحوا به وقررت الهة الاولیمب ان تنتقم منه مجددا بطریقة عبقریة أکثر شرا وکان هذا العقاب هو " المرأة "
لقد کان مجتمع الارض کله من الرجال وکان مجتمعا سعیدا جدا قبل ان ترسل الهة الاولیمب هدیة من نوع جدید للبشر... " امرأة وتقول الأسطورة ان زیوس کلف " فولکانو " اله النار والحدید بصنع المرأة وبهذا ترمز الأسطورة إلى طبیعة المراة الناریة، ،ثم تم استدعاء الهة الأولیمب الاخرین لتقدیم هدایاهم إلى هذه المراة.. فمنحتها فینوس (الهة الجمال) الجمال والحب، ومنحتها مینرفا (الهة الحکمة) بعض الذکاء " من، ثم اعطتها لاتونا قلب کلب.. ونفس لص.. وعقل ثعلب (هذا ماتقوله الاسطورة بالضبط)

تنزل باندورا إلى الارض فتثیر صخبا.. انها ملکة جمال العالم لسبب بسیط هو انه لایوجد سواها.. وبالطبع تلقی شباکها حول برومیثیوس لکن برومیثیوس کان ذکیا وحکیما فلم یهم بها حبا وتجاهلها تماما، فهام بها اخوه ابیمثیوس بسرعة واصر ان یتزوجها فوافق برومیثیوس على مضض وعاش اخوه ایام لاتوصف من السعادة.. هنا جاء الجزء الثانی من الخدعه یوم ارسل " زیوس " مبعوثه هرمز بهدیة للزوجین السعیدین.. هذه الهدیة هی صندوق مغلق. کان ابیمثیوس حکیما فی هذه النقطة فرفض فتح الصندوق.. لکن زوجته راحت تلح علیه ان یفعل.. من یدری ایة کنوز او افراح تختفی داخله ان هناک اصواتا تنادیها من الداخل.. اصوات تعدها بالسعادة المطلقة، لقد صارت حیاتها جحیما وهی تجلس اللیل والنهار جوار الصندوق تتخیل مایحویه وکان الفضول یخنقها کأیة انثى فی الاساطیر، مثل زوجة ذو اللحیة الزرقاء التی ترک لها زوجها حریة التنقل فی تسع وتسعین غرفة لکن جنونها کان شدیدا لمعرفة ماذا یوجد فی الغرفة رقم مائة... فی النهایة تنتهز باندورا فرصة غیاب زوجها فتفتح الصندوق, فجأة اظلم العالم وخرجت ارواح شریرة من الصندوق.. ارواح یحمل کل منها اسما مخیفا مثل " النفاق " " المرض " " الجوع " " الفقر " وراحت المسکینة تدور حول نفسها محاولة اغلاق الصندوق فلم تستطع.. فی النهایة اغلقته بالفعل لکن بعد ان حدثت الکارثة.. والجنة السعیدة تحولت إلى جحیم حقیقی للبشر... فلو لم تفتح باندورا الصندوق لکنا نعیش فی جنة حسب رای الاساطیر الاغریقیة وهذا المصطلح نفسه " صندوق باندورا " یستخدم إلى الآن فی الإشارة إلى الشیء الذی یمکن ان تنبثق منه کل الشرور والالام.
[عدل]صندوق باندورا

حسب الأسطورة کان هناک صندوق منعت باندورا من فتحه ولکن حبها للفضول دفعها لفتح الصندوق الذی أدى بدوره حسب الأسطورة إلى خروج الشیاطین وانتشارهم فی الأرض.فکانت الحیاه قبل ذلک الیوم تخلو من المشاکل والشر.
[عدل]مصدر

باندورا - بانثیون دوت أورغ.
کتاب الاساطیر الاغریقیة والفرعونیة.
هناک المزید من الصور والملفات فی ویکیمیدیا کومنز حول: باندورا

بوابة میثولوجیا
تصنیف: میثولوجیا إغریقیة

قس مصری


پاندورا هى اول ست فى التاریخ حسب المیثولوچى الیونانى . خلقت بعد ما زیوس أمر ابنه هیفیستوس بخلق مخلوق کعقاب للبشریه بعد ما برومیثیوس ساعدهم للمعرفه و سرق لیهم سر النار من زیوس. وخلى ابنه المسئول على خلق البشر , حسب میثولوچى الیونانى فى الوقت دا کان برومیثیوس هو المسئول على خلق البشر و کانوا کلهم ذکور بس و مخلوقین من طین بس, هیفیستوس خلق الست من مایه و الطین و سماها پاندورا و بعتها للبشر. کانت عندها مزایا کتیره زى الجمال و القدره الکبیره على الاقناع وعزف المزیکا و عندها عیب کبیر اللى هو الفضول اللى بسببه البشریه بتعانى لحد دلوقتى , حسب المیثولوجى الیونانى,.

[تعدیل]صندوق پاندورا

حسب میثولوچى الیونانى پاندورا کانت هیا اللى فتحت الصندوق , اللى کانت کل شرور و صفات الدنیا موجودا جواه, و خلفت الاوامر و فتحت الصندوق بدافع الفضول. بفتح الصندوق دا خرجت للدنیا الشیاطین و الاوبئه و الحروب و الصفات کلها و ملیت الدنیا کلها بعد ما کانت هادیه و مفیهاش مشاکل أو شر , قفلت الصندوق بعد کدا بسرعه بس قبل ما اخر حاجه تطلع منه اللى هى الامل.

فیه فایلات فى تصانیف ویکیمیدیا کومونز عن:
باندورا
تصانیف: میثولوجیا یونانیه

قس ترکی آذری

Pandora - (yunan. Πανδώρα, bəxşedilmiş, pan - bütün, hamı, tam və doron - hədiyyə, bəxşiş) yunan mifologiyasına görə yer üzündə ilk yaradılmış qadındır. Hesiod onu yunan. καλον κακον - gözəl pislik adlandırmışdır. Bu onun özü ilə birlikdə yerə gətirmiş olduğu bədliklərlə dolu mücrüyə işarədir.
Dəmirçi tanrı Hefest öz emalatxanasında su və torpaq qarışığından ilk qadının dəmir heykəlini yaratmış olur. Bu heykəl həddsiz yaraşıqlı göründüyündən tanrı Zevs onu canlandırmaq fikirinə düşür. Digər tanrılar isə ona misli bərabəri olmayan gözəllik, cazibadarlıq, müdriklik, inandırmaq bacarığı və s. kimi keyfiyyətlər bəxş edirlər. Hermes ona hiyləgərlik, yalan, Hera isə ona hər şeylə maraqlanmaq kimi xasiyyəti bəxş etmiş olurlar. Zevs isə Prometeyin ilahi qüvvə sayılan odu insanlara verməsindən hiddətlənərək, bunun əvəzini çıxmaq üçün, içərisinə insanların düçar ola biləcəkləri bütün bəlaları qiymətli daş-qaşlarla bəzədilmiş mücrünü içinə dolduraraq toy hədiyyəsi qismində Pandora ilə birlikdə Epimeteyaya bağışlayır. Ağzı kilidlənmiş mücrünün açarını Pandoraya verərək Zevs xoşbəxt və firavan yaşamaq istəyirsə onu açmamağı tapşırır. Epimetey Pandoranın gözəlliyinə valeh olaraq, qardaşı Prometeyin xəbərdarlığına məhəl qoymadan onu özünə arvad edir. Bir müddət Epimetey və Pandora firavan və xoşbəxt həyat sürürlər. Heranın Pandoranın qəlbinə salmış olduğu hər şeyə maraq göstərmək xasiyyəti onu bir an belə rahat buraxmırdı. Bir dəfə maraq onun iradəsinə üstün gələrək mücrünü açmağa məcbur edir. Mücrü açılar-açılmaz içindəki Zevsin insanlara ünvanlanmış "xeyirhaqlıqları": xəstəliklər, kədər, ağrı-acılar bir sözlə bütün bədliklər uçub bütün dünyanı bürümüş olurlar. Azad ola bilməyən, mücrüdə qalan kiçik ümid quşu, o vaxtdan etibarən insanların təskinliyi olur.
[redaktə]Mənbələr

Греческая Мифология, Катерина Серви, EKDOTİKE ATHENON, Афины 2007 ISBN 960-213-378-3, ISBN 978-960-213-378-1
Софиа Сули, Греческая Мифология, Издателство Михалис Тубис А.О., 1995 ISBN 960-540-118-5
Panaghiotis Christou, Katharini Papastamatis, Griechische Mythologie, 2008 ISBN 978-88-476-2283-8
[göstər]
g • m • r
Yunan mifologiyası personajları
Kateqoriya: Yunan mifologiyası

قس ترکی استانبولی

Pandora "tanrılar armağanı" anlamına gelir. Yunan mitolojisinde ilk kadın, Zeus tarafından insanlığı cezalandırmak için hazırlandığına inanılırdı.
Efsaneye göre, Zeus kendinden ateşi çalıp insanlara veren Prometheus'un kardeşi Epimetheus'a balçıktan yapılmış tanrısal güzellik ve zekaya sahip Pandora'yı eş olarak gönderir. Epimetheus kardeşinin tüm uyarılarına karşı Pandora ile evlenir. Zeus, Pandora'ya evlilik hediyesi olarak topraktan yapılmış, çömlek benzeri bir kavanoz (yanlış yapılmış bir çeviri sonucu kutu olarak anılmaktadır) hediye eder ama bu kavanoz asla açılmamalıdır. Bir süre sonra merakına yenilen Pandora, kavanozu açar ve içindeki tüm kötülükler dünyaya yayılmaya başlar... ancak son anda kutuyu kapatır bu da insanların içindeki "umut"tur.kötülüğün yayılmamış olması umudu.
Pandora mutsuzluk ve dertlerin olmadığı dünyada yaşar fakat kadına özgü merakına yenilip kutuyu açar.Ama başka bir efsaneye göre de Pandora kutuyu açtığında dünyaya kötülük hakim olur ve Pandora kutuyu kapatırken de kutu Pandorayı esir alır...
Diğer bir hikâyede ise Haberci Tanrı Hermes Olimposa giderken sırtında çok uzaklara götürmesi gereken sandığı Pandora ve eşine bırakır. Pandora merak eder kutuyu açar kendine ve eşinin üzerine pişmanlık, kızgınlık, kibir vs. gibi kötü özellikler, yaşadıkları mutlu ormana vede bütün dünyaya türlü türlü kötü özellikler yayılır. Son anda Epimetheus sandığı kapatır. Sandığın içinden bir ses gelir.Sandıktan gelen cılız ses -Lütfen beni çıkarın . Dışardaki kötülüklerle ancak ben başadebilirim- der. Bu sefer Pandora ve eşi birlikte açarlar sandığı. Sandığın dibinde bir kelebek vardır. Sandığın içindeki kelebek tek ümittir.

Pandora (1861), by Pierre Loison (1816–1886)



Jules Joseph Lefebvre: Pandora, 1882

Yunan mitolojisi ile ilgili bu madde bir taslaktır. İçeriğini geliştirerek Vikipedi'ye katkıda bulunabilirsiniz.
Kategoriler: Yunan mitolojisi taslaklarıYunan mitolojisinde kadınlar

قس عبری


במיתולוגיה היוונית פנדורה (ביוונית: Πανδώρα;‏ πᾶν "כל" ו-δῶρον "מתנה") הייתה האישה הראשונה שעוצבה על ידי זאוס כחלק מהעונש שלו למין האנושי על כך שגנבו ממנו את סוד האש.
אפימתאוס אחראי על מתן תכונה חיובית לכל חיה. אך כאשר הגיע הזמן לתת לאדם תכונה חיובית - לא נשאר דבר. פרומתאוס, אחיו, הרגיש שמכיוון שהאדם עליון לכל החיות האחרות, עליו לקבל מתנה שאין לאף חיה אחרת. לכן פרומתאוס גנב את האש מזאוס ומסר אותה לאדם.
זאוס התרגז ויצר את פנדורה כמתנה מורעלת לאדם. פנדורה קיבלה מספר תכונות מהאלים: הפיסטוס עיצב אותה מחימר ונתן לה צורה, אפרודיטה נתנה לה יופי ואפולו נתן לה כשרון מוזיקלי ואת היכולת לרפא. אחריהם נתן לה הרמס קופסה, אמר לה לא לפתוח אותה לעולם, ונתן לה את הסקרנות.
פרומתאוס הזהיר את אפימתאוס לא לקבל מתנות מהאלים. הטיטאן אפימתאוס לא מקשיב לאחיו, וכשפנדורה הגיעה אליו הוא התאהב בה והתחתן איתה.
עד אז, המין האנושי חי בעולם מושלם ללא דאגות. אפימתאוס אמר לפנדורה לעולם לא לפתוח את הקופסה. אולם, יום אחד, הסקרנות של פנדורה גברה עליה, והיא פתחה את הקופסה. במעשה זה, שיחררה פנדורה את כל האסונות לעולם (דבר, עצב, עוני, פשע וכו'). פנדורה מיהרה לסגור את הקופסה, אבל חתמה בתוכה את התקווה בלבד. העולם נשאר עגום וקר לתקופה ארוכה, עד שפנדורה פתחה את התיבה שנית ושיחררה את התקווה לעולם. סיפור זה אמור להסביר את המקור לתקווה ולאסונות בעולם.
בתם של אפימתאוס ופנדורה היא פיירה, שהתחתנה עם דאוקליון. שניהם היו היחידים ששרדו את המבול.
תוכן עניינים [הצגה]
[עריכה]פנדורה וחווה

סיפורה של פנדורה מזכיר את סיפור גן עדן שנזכר בתורה: ה' ברא את חווה והביא אותה אל האדם. האישה התפתתה לאכול מהעץ היחיד שנאסר עליה - עץ הדעת טוב ורע. כתוצאה מכך באו על המין האנושי צרות רבות.[1]
[עריכה]תיבת פנדורה

המושג "תיבת פנדורה" הוא מטבע לשון (ניב), וכוונתו היא חשיפת דברים לא נעימים, צרות, בעיות מורכבות וכדומה, שעדיף לשתוק ולהתעלם מהם ולא לפתוח את "התיבה", שהרי פתיחה שכזו תביא למחרוזת צרות.
[עריכה]קישורים חיצוניים

מיזמי קרן ויקימדיה
ערך מילוני בוויקימילון: תבת פנדורה
תמונות ומדיה בוויקישיתוף: פנדורה
[עריכה]הערות שוליים

^ ראו בספר "מעט מן האור" על בראשית, חנן פורת, עמ' 31
קטגוריה: דמויות מהמיתולוגיה היוונית
משובים קודמיםמשוב על הערך


قس اردو

یونانی دیو مالا میں پہلی عورت۔زوس دیوتا کے حکم سے جب ہفس ٹس دیوتا نے دنیا کی پہلی عورت پنڈورا Pandora کا گیلی مٹی سے پتلا تیار کیا تو افرودیتی نے پنڈورا کو جمال اور دلآویزی کے ساتھ ساتھ خوش و شاد کام کرنے کا فن بھی عطا کیا۔ اتھینی دیوی نے اس پتلے میں زندگی پھونکی، لباس پہنا کر ستر پوشی کی، قیمتی زیور دیئے اور زنانہ ہنر مندی میں مہارت بخشی۔ کرائی ٹی نے اسے موہ لینے کی قدرت عنایت کی ۔ اپولوناپولو نے نغمہ سرائی کی صلاحیت دی۔ ترغیب و تحریص کی دیوی پی تھو نے زیور دئیے۔ ہرمیز نے پنڈورا کو خوش کلامی ، بے باکی ، مکروعیاری ، دغا بازی اورخوشامد سکھائی۔ موسموں کی دیویوں ہوری نے اسے دلکش پھولوں کے ہاروں سے سجایا ۔ دوسری دیوی دیوتاؤں نے خوبصورت کپڑے اور طلائی تاج دیا۔ زوس نے پنڈورا کو ایک صندوقچہ دیا جس میں بڑھاپا ، بیماریاں ، پریشانی ، زحمت ، باگل پن غرض سارے دکھ اور مصیبتیں ، شہوانیت اور سب سے نیچے امید بندھی تھی
زمرہ جات: یونانی دیومالادیومالا

قس چینی

潘多拉（Pandora，希腊语：Πανδώρα；也譯作潘朵拉），希腊神话中火神赫淮斯托斯用粘土做成的地上的第一个女人，作为对普罗米修斯盗火的惩罚送给人类的第一个女人。眾神亦加入使她擁有更誘人的魅力:黑法斯托斯給她做了華麗的金長袍;愛神阿芙蘿黛緹賦予她嫵媚與誘惑男人的力量:神使漢密斯教會了她言語的技能......神靈們每人給她一件禮物，但其中唯獨雅典娜拒絕給予她智慧，所以潘朵拉的行動都是不經思考的。根據大英博物館所藏的一隻白底基里克斯杯（古希臘一種雙耳淺口的大酒杯），潘多拉的另一名字是「安妮斯朵拉」（Anesidora），意思為「送上禮物的她」。根據神話，潘多拉打開一個「盒子」（應作罈子，希臘文原作πίθος，πίθοι，英語：Pithos）。而現時當提到「潘多拉的盒子」，通常是指潘多拉出于好奇而打开了盒子，釋放出人世間的所有邪惡——貪婪、虛無、誹謗、嫉妒、痛苦——當她再蓋上盒子時，只剩下希望在裡面。
潘多拉的神話源遠流長，以不同的版本出現，並從不同的角度詮釋。然而，在所有的文學版本，此神話作為自然神學以解釋世界上罪惡的存在。在公元前7世紀，赫西俄德在他的《神譜》（第570行，大概提及，而並無完全指出潘多拉的名字）及《工作與時日》（Works and Days）是最早有關潘多拉故事的文學著作。
這是與神话、传奇相關的小作品。你可以通过编辑或修订扩充其内容。
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1个分类：希臘神祇

قس روسی
Пандора (др.-греч. Πανδώρα — «всем одарённая») — имя мифической обладательницы волшебного ларца со всеми бедами и надеждой.
Содержание [показать]
[править]Сюжет и его развитие

В древнегреческих мифах[1] первая женщина на земле. Создана Гефестом по приказу Зевса, смешавшим землю и воду, при участии других богов[2]. Афина дала ей душу, а каждый из прочих по подарку, Зевс дал ей любопытство в подарок[3]. Сатиры принесли ее к Эпиметею вместе с чаном, который Зевс приказал никогда не открывать[4].
Пандора стала женой Эпиметея, младшего брата Прометея[5][6]. От мужа она узнала, что в доме есть чан (либо пифос[7]), который ни в коем случае нельзя открывать. Если нарушить запрет, весь мир и его обитателей ждут неисчислимые беды. Поддавшись любопытству, она открыла его и беды обрушились на мир. Когда Пандора закрыла чан, то на дне его, по воле Зевса, осталась только Надежда.
Это имя носила также дочь афинского царя Эрехтея.
[править]В последующей традиции



Никола Ренье, Аллегория суеты (Пандора), ок.1626
Ей приносили в жертву белую овцу[8].
Действующее лицо сатировской драмы Софокла «Пандора, или Молотобойцы» и комедии Никофона «Пандора».
В XVII столетии Пандорами стали называть кукол — манекенов, которых использовали для демонстрации моды.
В новое время стала крылатой фраза «Открыть ларец Пандоры», что означает совершить действие с необратимыми последствиями, которое нельзя отменить.
Драму Пандора (1992) написал Жан-Кристоф Байи.
Пандора — Планета в романах братьев Стругацких, посвящённых миру Полудня. Популярный курорт планетарного масштаба. Большая часть её покрыта джунглями, полными опасной неземной фауной вроде ракопауков и тахоргов.
В ноябре 2009 года состоялась премьера фильма Джеймса Кэмерона «Аватар», действие в котором происходит на планете «Пандора».
В фильме Лара Крофт Расхитительница гробниц: Колыбель жизни ящик Пандоры является основным артефактом.
В пятом сезоне сериала «Доктор Кто» (2010) рассказывается о ящике Пандоры (Пандорике), в котором должно быть заключено зло, которое не должно выйти наружу. Впоследствии этим злом, по мнению всех инопланетных врагов Доктора, являлся сам Доктор.
[править]Примечания

↑ Мифы народов мира. М., 1991-92. В 2 т. Т.2. С.281
↑ Гесиод. Труды и дни 59-82; Гигин. Астрономия II 15, 3; Эсхил. Прометей-огневозжигатель, фр.369 Радт
↑ Гигин. Мифы 142
↑ Софокл. Пандора, или Молотобойцы, фр.482-483 Радт
↑ Павсаний. Описание Эллады I 24, 7
↑ Псевдо-Аполлодор. Мифологическая библиотека I 7, 2
↑ Нонн. Деяния Диониса VII 56
↑ Аристофан. Птицы 971
[править]Ссылки

Пандора на Викискладе?В Викисловаре есть статья «Пандора»
Категории: Героини древнегреческих мифовМифы ФессалииПерволюдиВымышленные женщины

قس اسپانیائی

En la mitología griega, Pandora (en griego antiguo: Πανδώρα) fue la primera mujer, hecha por orden de Zeus para introducir males en la vida de los hombres, después de que Prometeo, yendo en contra de su voluntad, les otorgara el don del fuego.
Contenido [mostrar]
[editar]Mito

Las dos primeras apariciones de Pandora en la literatura griega tienen lugar en la Teogonía (571ss) y en Trabajos y días (60ss), ambas obras de Hesíodo. Según la versión de este poeta, la creación de la primera mujer está ligada estrechamente con el incidente de Mecona. Cuando los mortales e inmortales se separaron, Prometeo urdió un engaño para que, en adelante, cuando los hombres sacrificaran a los dioses, solo les reservaran los huesos y pudieran aprovechar para sí mismos la carne y las vísceras. Zeus, irritado por el ardid, les negó el fuego a los hombres, pero Prometeo, hurtándolo, se los restituyó (Teog. 535-570; Trabajos y días, 47-58).
Zeus ordenó que Hefesto modelara una imagen con arcilla, con figura de encantadora doncella, semejante en belleza a las inmortales, y le infundiera vida. Pero, mientras que a Afrodita le mandó otorgarle gracia y sensualidad, y a Atenea concederle el dominio de las artes relacionadas con el telar y adornarla, junto a las Gracias y las Horas con diversos atavíos, a Hermes le encargó sembrar en su ánimo mentiras, seducción y un carácter inconstante. Ello, con el fin de configurar un "bello mal", un don tal que los hombres se alegren al recibirlo, aceptando en realidad un sinnúmero de desgracias.
Los poemas presentan de distinta forma la introducción de los males por Pandora. En Teogonía, el poeta la presenta como la primera de entre las mujeres, que en sí mismas traen el mal: en adelante, el hombre debe optar por huir del matrimonio, a cambio de una vida sin carencias materiales, pero sin descendencia que lo cuide y que mantenga después de su muerte su hacienda; o bien casarse, y vivir constantemente en la penuria, corriendo el riesgo incluso de encontrar a una mujer desvergonzada, mal sin remedio (Teog. 602-612).
En Trabajos y días, Hesíodo indica que los hombres habían vivido hasta entonces libres de fatigas y enfermedades, pero Pandora abrió un ánfora que contenía todos los males (la expresión «caja de Pandora» en lugar de jarra o ánfora es una deformación renacentista) liberando todas las desgracias humanas. El ánfora se cerró justo antes de que la esperanza fuera liberada (Trabajos y días 90-105).
En esta última versión es cuando se menciona por primera vez el nombre de "Pandora", y su vínculo con Epimeteo: Prometeo le había advertido no aceptar ningún regalo de Zeus, de lo contrario les sobrevendría una gran desgracia a los mortales, pero no escuchó a su hermano y la aceptó, dándose cuenta muy tarde de la astucia del padre de los dioses (Trabajos y días 83-89).
Otras versiones del mito relatan que en realidad la jarra contenía bienes y no males. La apertura de la jarra ocasionó que los bienes volaran regresando a las mansiones de los dioses, sustrayéndose de la vida de los hombres, que en adelante solo viven afligidos por males. Lo único que pudieron conservar de aquellos bienes es la esperanza.1
La Biblioteca mitológica (I, VII, 2) menciona que Epimeteo y Pandora fueron padres de Pirra, esposa de Deucalión, hijo de Prometeo. Deucalión y Pirra son considerados por el mito como antepasados de la mayor parte de los pueblos de Grecia.
[editar]Interpretaciones

[editar]Etimología del nombre "Pandora"
Etimológicamente se ha dado a la palabra «Pandora» un significado con distintos matices: Paul Mazon2 y Willem Jacob Verdenius3 la han interpretado como "el regalo de todos"; sin embargo, para Robert Graves significa "la que da todo" e indica que con ese nombre (Pandora) se adoraba en Atenas y otros lugares a Rea.4 Según Graves, se estaría ante la precursora griega de la Eva bíblica, puesto que Pandora es quien, como aquélla, trae la desgracia a la humanidad.5
[editar]Sentido del mito
Para Jean-Pierre Vernant, el rol de mito de Pandora en el texto hesiódico (sobre todo referido a Trabajos y días) es el de la justificación teológica de la presencia de fuerzas oscuras en el mundo humano. Al intentar Prometeo obtener para los hombres más de lo que debían recibir, arrastra a la humanidad a la desgracia: Zeus le da a los mortales un don ambiguo, mezcla de bien y mal, una peste difícil de tolerar pero de la que no se puede prescindir. Es el engaño mismo disfrazado de amante. Pandora es la responsable de comunicar al mundo humano los poderes representados por la estirpe de la Nyx: de ahora en adelante, toda abundancia convive con Ponos, a la juventud sigue Geras, y la justicia contrasta con Eris. La aparición de la mujer implica también la necesidad de un constante afán en las labores agrícolas, puesto que es presentada constantemente como un vientre hambriento, atenta a la hacienda de su prometido, al que acecha con encantos seductores (Apate), y una vez casada instala el hambre en el hogar.6
[editar]Véase también

Prometeo
Epimeteo
Pandora (Waterhouse)
[editar]Referencias

↑ Grimal, Diccionario de mitología griega y romana, ad. voc. "Pandora", p. 405.
↑ Hésiode Théogonie, n. al v. 58
↑ «Aufbau und Absich der Erga», en:Hésiode et son influence, Entretiens sur l'Antiqué classique 7, p. 109-170, citado por Aurelio Pérez Jimenes, Trabajos y días ed. Gredos, p. 126 n. 8.
↑ R. Graves, Los mitos griegos, 39.8, Alianza, 1991, vol. 1, p. 182. Graves remite a: Aristófanes, Aves, 971, y Filóstrato, Vida de Apolonio de Tiana, VI, 39.
↑ R. Graves, Los mitos griegos, 4.3, Alianza, 1991, vol. 1, p. 39.
↑ Mito y pensamiento en la Grecia antigua, p. 60 - 63.
[editar]Bibliografía

[editar]Fuentes
Hesíodo (ed. 1997). Obras y fragmentos: Teogonía. Trabajos y días. Escudo. Fragmentos. Certamen. Madrid: Editorial Gredos. ISBN 978-84-249-3517-7.
Paul Mazon (Ed. y trad.) (1928) (en griego/francés). Hésiode Théogonie; Les travaux et les jours; Le bouclier. París: Les Belles Lettres. ISBN 2-251-00152-2.
Pseudo Apolodoro (ed. 1950). Biblioteca mitológica. Buenos Aires: Coni en representación de la Facultad de filosofía y letras de la UBA.
[editar]Estudios y bibliografía secundaria
Graves, Robert, Los mitos griegos, 2 vols., Madrid, Alianza Editorial, 1985; 6ª reimpr., 1991, {ISBN 84-206-0110-1} e {ISBN 84-206-0111-X}.
Grimal, Pierre (2009). Diccionario de mitología griega y romana. Colección Bolsillo Paidós. Barcelona: Ediciones Paidós Ibérica. ISBN 978-84-493-2211-2.
Vernant, Jean-Pierre (1973 , trad. 1986). Mito y pensamiento en la Grecia antigua (título original: Mythe et pensée chez les grecs). Barcelona: Ariel. ISBN 978-84-344-9702-4.
[editar]Enlaces externos

Wikimedia Commons alberga contenido multimedia sobre Pandora.
«Pandora» en Theoi Project (en inglés).
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Categorías: Personajes de la mitología griegaMujeres fatales

قس انگلیسی
In Greek mythology, Pandora (ancient Greek, Πανδώρα, derived from πᾶς "all" and δῶρον "gift", thus "all-gifted" or "all-giving")[1] was allegedly the first woman, who was made out of clay.[2] As Hesiod related it, each god helped create her by giving her unique gifts. Zeus ordered Hephaestus to mold her out of earth as part of the punishment of mankind for Prometheus' theft of the secret of fire, and all the gods joined in offering her "seductive gifts". Her other name, inscribed against her figure on a white-ground kylix in the British Museum,[3] is Anesidora, "she who sends up gifts,"[4] up implying "from below" within the earth. According to the myth, Pandora opened a jar (pithos), in modern accounts sometimes mistranslated as "Pandora's box" (see below), releasing all the evils of mankind — although the particular evils, aside from plagues and diseases, are not specified in detail by Hesiod — leaving only Hope inside once she had closed it again.[5] She opened the jar out of simple curiosity and not as a malicious act.[6]
The myth of Pandora is ancient, appears in several distinct Greek versions, and has been interpreted in many ways. In all literary versions, however, the myth is a kind of theodicy, addressing the question of why there is evil in the world. In the seventh century BC, Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest literary version of the Pandora story; however, there is an older mention of jars or urns containing blessings and evils bestowed upon mankind in Homer's Iliad:
The immortals know no care, yet the lot they spin for man is full of sorrow; on the floor of Zeus' palace there stand two urns, the one filled with evil gifts, and the other with good ones. He for whom Zeus the lord of thunder mixes the gifts he sends, will meet now with good and now with evil fortune; but he to whom Zeus sends none but evil gifts will be pointed at by the finger of scorn, the hand of famine will pursue him to the ends of the world, and he will go up and down the face of the earth, respected neither by gods nor men.[7]
Contents [show]
[edit]Hesiod's Theogony



Jules Joseph Lefebvre: Pandora, 1882
The Pandora myth first appears in lines 560–612 of Hesiod's poem in epic meter, the Theogony (ca. 8th–7th centuries BC), without ever giving the woman a name. After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give men a punishing gift to compensate for the boon they had been given. He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the race of men. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works and Days. When she first appears before gods and mortals, "wonder seized them" as they looked upon her. But she was "sheer guile, not to be withstood by men." Hesiod elaborates (590–93):
From her is the race of women and female kind:
of her is the deadly race and tribe of women who
live amongst mortal men to their great trouble,
no helpmates in hateful poverty, but only in wealth.
Hesiod goes on to lament that men who try to avoid the evil of women by avoiding marriage will fare no better (604–7):
He reaches deadly old age without anyone to tend his years,
and though he at least has no lack of livelihood while he lives,
yet, when he is dead, his kinsfolk divide his possessions amongst them.
Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends with good."
[edit]Hesiod's Works and Days

The more famous version of the Pandora myth comes from another of Hesiod's poems, Works and Days. In this version of the myth (lines 60–105), Hesiod expands upon her origin, and moreover widens the scope of the misery she inflicts on mankind. As before, she is created by Hephaestus, but now more gods contribute to her completion (63–82): Athena taught her needlework and weaving (63–4); Aphrodite "shed grace upon her head and cruel longing and cares that weary the limbs" (65–6); Hermes gave her "a shameful mind and deceitful nature" (67–8); Hermes also gave her the power of speech, putting in her "lies and crafty words" (77–80) ; Athena then clothed her (72); next she, Persuasion and the Charites adorned her with necklaces and other finery (72–4); the Horae adorned her with a garland crown (75). Finally, Hermes gives this woman a name: Pandora – "All-gifted" – "because all the Olympians gave her a gift" (81).[8] In this retelling of her story, Pandora's deceitful feminine nature becomes the least of mankind's worries. For she brings with her a jar (which, due to textual corruption in the sixteenth century, came to be called a box)[9][10] containing[11] "burdensome toil and sickness that brings death to men" (91–2), diseases (102) and "a myriad other pains" (100). Prometheus had (fearing further reprisals) warned his brother Epimetheus not to accept any gifts from Zeus. But Epimetheus did not listen; he accepted Pandora, who promptly scattered the contents of her jar. As a result, Hesiod tells us, "the earth and sea are full of evils" (101). One item, however, did not escape the jar (96–9):
Only Hope was left within her unbreakable house,
she remained under the lip of the jar, and did not
fly away. Before [she could], Pandora replaced the
lid of the jar. This was the will of aegis-bearing
Zeus the Cloudgatherer.
Hesiod does not say why hope (elpis) remained in the jar.[12]
Hesiod closes with this moral (105): "Thus it is not possible to escape the mind of Zeus."
[edit]Later embellishments

Archaic and Classic Greek literature seem to make no further mention of Pandora, though Sophocles wrote a satyr play Pandora, or The Hammerers of which virtually nothing is known. Sappho may have made reference to Pandora in a surviving fragment.[13]
Later mythographers filled in minor details or added postscripts to Hesiod's account. For example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text: Epimetheus married Pandora. They each add that they had a daughter, Pyrrha, who married Deucalion and survived the deluge with him. However, the Hesiodic Catalogue of Women, fragment #5, had made a "Pandora" one of the daughters of Deucalion, and the mother of Graecus by Zeus. The 15th-century monk Annio da Viterbo credited a manuscript he claimed to have found to the Chaldean historian of the 3rd century BC, Berossus, where "Pandora" was also named as a daughter-in-law of Noah; this attempt to conjoin pagan and scriptural narrative is recognized as a forgery.
In a major departure from Hesiod, the 6th-century BC Greek elegiac poet Theognis of Megara tells us:[14]
Hope is the only good god remaining among mankind;
the others have left and gone to Olympus.
Trust, a mighty god has gone, Restraint has gone from men,
and the Graces, my friend, have abandoned the earth.
Men’s judicial oaths are no longer to be trusted, nor does anyone
revere the immortal gods; the race of pious men has perished and
men no longer recognize the rules of conduct or acts of piety.
Theognis seems to be hinting at a myth in which the jar contained blessings rather than evils. In this, he appears to follow a possibly pre-Hesiodic tradition, preserved by the second-century fabulist Babrius,[15] that the gods sent a jar containing blessings to humans. A "foolish man" (not Pandora) opened the jar, and most of the blessings were lost forever. Only hope remained, "to promise each of us the good things that fled."
An independent Pandora tradition that does not square with any of the literary sources is the tradition in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself."[16] Sometimes,[17] but not always, she is labeled Pandora.
[edit]Difficulties of interpretation



John William Waterhouse: Pandora, 1896
Historic interpretations of the Pandora figure are rich enough to have offered Erwin Panofsky scope for monographic treatment.[18] M. L. West writes that the story of Pandora and her jar is from a pre-Hesiodic myth, and that this explains the confusion and problems with Hesiod's version and its inconclusiveness.[19] He writes that in earlier myths, Pandora was married to Prometheus, and cites the ancient Hesiodic Catalogue of Women as preserving this older tradition, and that the jar may have at one point contained only good things for mankind. He also writes that it may have been that Epimetheus and Pandora and their roles were transposed in the pre-Hesiodic myths, a "mythic inversion". He remarks that there is a curious correlation between Pandora being made out of earth in Hesiod's story, to what is in the Bibliotheca that Prometheus created man from water and earth.[19][20] Hesiod's myth of Pandora's jar, then, could be an amalgam of many variant early myths.
In Hesiodic scholarship, the interpretive crux has endured:[21] Is the imprisonment of hope inside a jar full of evils for mankind a benefit for mankind, or a further bane? A number of mythology textbooks echo the sentiments of M. L. West: "[Hope's retention in the jar] is comforting, and we are to be thankful for this antidote to our present ills."[22] Some scholars such as Mark Griffith, however, take the opposite view: "[Hope] seems to be a blessing withheld from men so that their life should be the more dreary and depressing."[23] One's interpretation hangs on two related questions: First, how are we to render elpis, the Greek word usually translated as "hope"? Second, does the jar preserve Elpis for men, or keep Elpis away from men?
The first question might confuse the non-specialist. But as with most ancient Greek words, elpis can be translated a number of ways. A number of scholars prefer the neutral translation of "expectation." But expectation of what? Classical authors use the word elpis to mean "expectation of bad," as well as "expectation of good." Statistical analysis demonstrates that the latter sense appears five times more than the former in all of ancient Greek literature.[24] Others hold the minority view that elpis should be rendered, "expectation of evil" (vel sim).[25]


This is an engraving of Pandora trying to close the box that she had opened out of curiosity. At left, the evils of the world taunt her as they escape. The engraving is based on a painting by F.S. Church.
How one answers the first question largely depends on the answer to the second question: should we interpret the jar to function as a prison, or a pantry?[26] The jar certainly serves as a prison for the evils that Pandora released – they only affect mankind once outside the jar. Some have argued that logic dictates, therefore, that the jar acts as a prison for Elpis as well, withholding it from men.[27] If one takes elpis to mean expectant hope, then the myth's tone is pessimistic: All the evils in the world were scattered from Pandora's jar, while the one potentially mitigating force, Hope, remains locked securely inside.[28]
This interpretation raises yet another question, complicating the debate: are we to take Hope in an absolute sense, or in a narrow sense where we understand Hope to mean hope only as it pertains to the evils released from the jar? If Hope is imprisoned in the jar, does this mean that human existence is utterly hopeless? This is the most pessimistic reading possible for the myth. A less pessimistic interpretation (still pessimistic, to be sure) understands the myth to say: countless evils fled Pandora's jar and plague human existence; the hope that we might be able to master these evils remains imprisoned inside the jar. Life is not hopeless, but each of us is hopelessly human.[29]
It is also argued that hope was simply one of the evils in the jar, the false kind of hope, and was no good for mankind, since, later in the poem, Hesiod writes that hope is empty (498) and no good (500) and makes mankind lazy by taking away his industriousness, making him prone to evil.[30]
In Human, All Too Human, philosopher Friedrich Nietzsche argued that "Zeus did not want man to throw his life away, no matter how much the other evils might torment him, but rather to go on letting himself be tormented anew. To that end, he gives man hope. In truth, it is the most evil of evils because it prolongs man's torment."[31]
An objection to the hope is good/the jar is a prison interpretation counters that, if the jar is full of evils, then what is expectant hope – a blessing – doing among them? This objection leads some to render elpis as the expectation of evil, which would make the myth's tone somewhat optimistic: although humankind is troubled by all the evils in the world, at least we are spared the continual expectation of evil, which would make life unbearable.[25]
The optimistic reading of the myth is expressed by M. L. West. Elpis takes the more common meaning of expectant hope. And while the jar served as a prison for the evils that escaped, it thereafter serves as a residence for Hope. West explains, "It would be absurd to represent either the presence of ills by their confinement in a jar or the presence of hope by its escape from one."[32] Hope is thus preserved as a benefit for humans.[33]
[edit]Pithos into "box"



A pithos from Crete, ca. 675 BC (Louvre Museum)
Main article: Pandora's box
The mistranslation of pithos, a large storage jar, as "box"[34] is usually attributed to the sixteenth century humanist Erasmus of Rotterdam when he translated Hesiod's tale of Pandora into Latin. Hesiod's pithos refers to a large storage jar, often half-buried in the ground, used for wine, oil or grain.[35] It can also refer to a funerary jar.[36]
Erasmus, however, translated pithos into the Latin word pyxis, meaning "box".[37] The phrase "Pandora's box" has endured ever since.
[edit]All-giving Pandora: a mythic inversion?

The meaning of Pandora's name provided in Works and Days is "all-gifted". However according to others Pandora more properly means "all-giving".[citation needed] Certain vase paintings dated to the 5th century BC likewise indicate that the pre-Hesiodic myth of the goddess Pandora endured for centuries after the time of Hesiod. An alternate name for Pandora attested on a white-ground kylix (ca. 460 BC) is Anesidora, which similarly means "she who sends up gifts."[38] This vase painting clearly depicts Hephaestus and Athena putting the finishing touches on the first woman, as in the Theogony. Written above this figure (a convention in Greek vase painting) is the name Anesidora. More commonly, however, the epithet anesidora is applied to Gaea or Demeter.


An Attic pyxis, 440–430 BC (British Museum)
This connection of Pandora to Gaea and Demeter through the name Anesidora provides a clue as to Pandora's evolution as a mythic figure. In classical scholarship it is generally posited that—for female deities in particular—one or more secondary mythic entities sometimes "splinter off" (so to speak) from a primary entity, assuming aspects of the original in the process. The most famous example of this is the putative division of all the aspects of the so-called Great Goddess into a number of goddesses with more specialized functions—Gaea, Demeter, Persephone, Artemis and Hecate among them. Pandora appears to be just such a product of this process.[citation needed] In a previous incarnation now lost to us, Pandora/Anesidora would have taken on aspects of Gaea and Demeter. She would embody the fertility of the earth and its capacity to bear grain and fruits for the benefit of humankind.[39] Jane Ellen Harrison[40] turned to the repertory of vase-painters to shed light on aspects of myth that were left unaddressed or disguised in literature. The story of Pandora was repeated on Greek ceramics. On a fifth century amphora in the Ashmolean Museum (her fig.71) the half-figure of Pandora emerges from the ground, her arms upraised in the epiphany gesture, to greet Epimetheus.[41] A winged ker with a fillet hovers overhead: "Pandora rises from the earth; she is the Earth, giver of all gifts," Harrison observes.


Nicolas Régnier: Allegory of Vanity — Pandora, c. 1626. Régnier portrayed Pandora with a jar, not a box.
Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. T. A. Sinclair, commenting on Works and Days[42] argues that Hesiod shows no awareness of the mythology of such a divine "giver". A.H. Smith,[43] however, notes that in Hesiod's account Athena and the Seasons brought wreaths of grass and spring flowers to Pandora, indicating that Hesiod was conscious of Pandora's original "all-giving" function. Jane Ellen Harrison sees in Hesiod's story "evidence of a shift from matriarchy to patriarchy in Greek culture. As the life-bringing goddess Pandora is eclipsed, the death-bringing human Pandora arises."[44] Thus Harrison concludes "in the patriarchal mythology of Hesiod her great figure is strangely changed and diminished. She is no longer Earth-Born, but the creature, the handiwork of Olympian Zeus." (Harrison 1922:284). Robert Graves, quoting Harrison,[45] asserts of the Hesiodic episode that "Pandora is not a genuine myth, but an anti-feminist fable, probably of his own invention." H.J. Rose wrote that the myth of Pandora is decidedly more illiberal than that of epic in that it makes Pandora the origin of all of Man's woes with her being the exemplification of the bad wife.[46]
The Hesiodic myth did not, however, completely obliterate the memory of the all-giving goddess Pandora. A scholium to line 971 of Aristophanes' The Birds mentions a cult "to Pandora, the earth, because she bestows all things necessary for life".[47]
In fifth-century Athens, Pandora made a prominent appearance in what, at first, appears an unexpected context, in a marble relief or bronze appliqués as a frieze along the base of the Athena Parthenos, the culminating experience on the Acropolis. Jeffrey M. Hurwit has interpreted her presence there as an "anti-Athena." Both were motherless, and reinforced via opposite means the civic ideologies of patriarchy and the "highly gendered social and political realities of fifth-century Athens"[47] - Athena by rising above her sex to defend it, and Pandora by embodying the need for it. Meanwhile, Pausanias (i.24.7) merely noted the subject and moved on.
[edit]Pandora's relationship to Eve of the Genesis account

The characters of Eve in Genesis and Pandora in the Works and Days have some striking similarities. Each is the first woman in the world; and each is a central character in a story of transition from an original state of plenty and ease to one of suffering and death, a transition which is brought about in revenge for a transgression of divine law.
There are also major differences. Eve and Adam transgress in the former, whereas Prometheus does so in the latter. Eve was created to help Adam, Pandora to bring punishment to the men who benefited from the crime (Prometheus having been punished separately).
In the centuries following the conquest of western Asia by Alexander the Great, each story was retold to more closely resemble the other. In 1 Timothy,[48] Eve alone is labelled a transgressor, absolving Adam of his former blame. In Pandora by Bishop Jean Oliver, Pandora is said to "open the box in defiance of a divine injunction".[49]
[edit]Notes

^ Evelyn-White, note to Hesiod, Works and Days 81.; Schlegel and Weinfield, "Introduction to Hesiod" p. 6; Meagher, p. 148; Samuel Tobias Lachs, "The Pandora-Eve Motif in Rabbinic Literature", The Harvard Theological Review, Vol. 67, No. 3 (Jul., 1974), pp. 341-345.
^ "Scatter-brained Epimetheus who from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed." (Hesiod, Theogony 510 ff (Hugh G. -White, translator)
^ B.M. 1881,0528.1: white-ground cup from Nola, painted by the Tarquinia painter, ca 470–460 BCE (British Museum on-line catalogue entry)
^ Harrison, Prolegomena to the Study of Greek Religion 3rd ed., 1922:281. If Anesidora/Pandora were already "all-gifted", this would be an instance of mythic inversion.
^ Cf. Hesiod, Works and Days, (90). Before what was released from the jar, mankind had no need of toilsome labor, there were no sickness and evils in life. When Pandora opened the jar, this all changed and mankind was exposed to heavy labor, sickness [Zeus had taken away the 'voices' of the diseases as is written a few lines later (100)], and 'ills' (evils). "For ere this the tribes of men lived on earth remote and free from ills and hard toil and heavy sicknesses which bring the Fates upon men ... Only Hope remained there in an unbreakable home within under the rim of the great jar, and did not fly out at the door; for ere that, the lid of the jar stopped her, by the will of Aegis-holding Zeus who gathers the clouds. But the rest, countless plagues, wander amongst men; for earth is full of evils and the sea is full. Of themselves diseases come upon men continually by day and by night, bringing mischief to mortals silently; for wise Zeus took away speech from them."
^ Cf. Verdenius, p. 65. "This does not imply she acted from malice. It is true that she had a shameless character, but the fact that she quickly put on the lid again shows that she was 'surprised and frightened by the results of her actions. It was not her cunning and wiliness that prompted her to open the jar, but her curiosity'..."
^ Homer, Iliad, 24:527.; on-line Greek and English text Theoi Project: Pandora
^ In Greek, Pandora has an active rather than a passive meaning; hence, Pandora properly means "All-giving." The implications of this mistranslation are explored in "All-giving Pandora: mythic inversion?" below.
^ A pithos is a very large jar, usually made of rough-grained terra cotta, used for storage.
^ Cf. Verdenius, p. 64, comment on line 94, on pithos. "Yet Pandora is unlikely to have brought along the jar of ills from heaven, for Hes. would not have omitted describing such an important detail. According to Proclus, Prometheus had received the jar of ills from the satyrs and deposited it with Epimetheus, urging him not to accept Pandora. Maz. [Paul Mazon in his Hesiode] suggests that Prometheus probably had persuaded the satyrs to steal the jar from Zeus, when the latter was about to pour them out over mankind. This may have been a familiar tale which Hes. thought unnecessary to relate."
^ Contra M. L. West, Works and Days, p. 168. "Hesiod omits to say where the jar came from, and what Pandora had in mind when she opened it, and what exactly it contained". West goes on to say this contributes to the "inconclusive Pandora legend".
^ Regarding line 96. Verdenius, p. 66 says that Hesiod "does not tell us why elpis remained in the jar. There is a vast number of modern explanations, of which I shall discuss only the most important ones. They may be divided into two classes according as they presume that the jar served (1) to keep elpis for man, or (2) to keep off elpis from man. In the first case the jar is used as a pantry, in the second case it is used as a prison (just as in Hom. E 387). Furthermore, elpis may be regarded either (a) as a good, or (b) as an evil. In the first case it is to comfort man in his misery and a stimulus rousing his activity, in the second case it is the idle hope in which the lazy man indulges when he should be working honestly for his living (cf. 498). The combination of these alternatives results in four possibilities which we shall now briefly consider."
^ Sappho, fr. 207 in Lobel and Page.
^ Theognis, 1135ff.
^ Babrius, Fabulla lviii.
^ Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" American Journal of Archaeology 99.2 (April 1995:171–186) p. 177.
^ E.g. as on a volute krater, ca 450 BC, in the Ashmolean Museum, Oxford (Oxford G 275), Hurwit, p. 276 fig. 7.
^ Panofsky, Pandora's Box: The Changing Aspects of a Mythical Symbol (New York, 1962).
^ a b West, Works and Days, p. 165–6.
^ Apollodorus, Library and Epitome, ed. Sir James George Frazer.
^ Dora Panofsky and Erwin Panofsky examined the post-Renaissance mythos (Pandora was not a subject of medieval art) in Pandora's Box. The Changing Aspects of a Mythical Symbol (New York: Pantheon, Bollingen series) 1956.
^ West 1978:96.
^ Griffith 1983:250.
^ Leinieks 1984, 1–4.
^ a b E.g., Verdenius 1985; Blumer 2001.
^ The prison/pantry terminology comes from Verdenius 1985 ad 96.
^ Scholars holding this view (e.g., Walcot 1961, 250) point out that the jar is termed an "unbreakable" (in Greek: arrektos) house. In Greek literature (e.g., Homer, and elsewhere in Hesiod), the word arrektos is applied to structures meant to sequester or otherwise restrain its contents.
^ See Griffith 1984 above.
^ Thus Athanassakis 1983 in his commentary ad Works 96.
^ Cf. Jenifer Neils, in The Girl in the Pithos: Hesiod’s Elpis, in "Periklean Athens and its Legacy. Problems and Perspectives", pp. 40–41 especially.
^ Nietzsche, Friedrich, Human, All Too Human. Cf. Section Two, On the History of Moral Feelings. "Hope. Pandora brought the jar with the evils and opened it. It was the gods' gift to man, on the outside a beautiful, enticing gift, called the 'lucky jar.' Then all the evils, those lively, winged beings, flew out of it. Since that time, they roam around and do harm to men by day and night. One single evil had not yet slipped out of the jar. As Zeus had wished, Pandora slammed the top down and it remained inside. So now man has the lucky jar in his house forever and thinks the world of the treasure. It is at his service; he reaches for it when he fancies it. For he does not know that the jar which Pandora brought was the jar of evils, and he takes the remaining evil for the greatest worldly good—it is hope, for Zeus did not want man to throw his life away, no matter how much the other evils might torment him, but rather to go on letting himself be tormented anew. To that end, he gives man hope. In truth, it is the most evil of evils because it prolongs man's torment."
^ West 1988, 169–70.
^ Taking the jar to serve as a prison at some times and as a pantry at others will also accommodate another pessimistic interpretation of the myth. In this reading, attention is paid to the phrase moune Elpis – "only Hope," or "Hope alone." A minority opinion construes the phrase instead to mean "empty Hope" or "baseless Hope": not only are humans plagued by a multitude of evils, but they persist in the fruitless hope that things might get better. Thus Beall 1989 227–28.
^ The development of this transformation was sketched by Jane Ellen Harrison, "Pandora's Box" The Journal of Hellenic Studies 20 (1900: 99–114); she traced the mistranslation as far as Lilius Giraldus of Ferrara, in his Historiarum Deorum Syntagma (1580), in which pithos was rendered pyxide, and she linked the pithos with the Pithoigia aspect of the Athenian festival of Anthesteria.
^ Cf. Verdenius, p. 64.
^ Cf. Harrison, Jane Ellen, Prolegomena to the Study of Greek Religion, Chapter II, The Pithoigia, pp. 42–43. Cf. also Figure 7 which shows an ancient Greek vase painting in the University of Jena where Hermes is presiding over a body in a pithos buried in the ground. "In the vase painting in fig.7 from a lekythos in the University Museum of Jena we see a Pithoigia of quite other and solemn intent. A large pithos is sunk deep into the ground. It has served as a grave. ... The vase-painting in fig. 7 must not be regarded as an actual conscious representation of the Athenian rite performed on the first day of the Anthesteria. It is more general in content; it is in fact simply a representation of ideas familiar to every Greek, that the pithos was a grave-jar, that from such grave-jars souls escaped and to them necessarily returned, and that Hermes was Psychopompos, Evoker and Revoker of souls. The vase-painting is in fact only another form of the scene so often represented on Athenian white lekythoi, in which the souls flutter round the grave-stele. The grave-jar is but the earlier form of sepulture; the little winged figures, the Keres, are identical in both classes of vase-painting."
^ In his notes to Hesiod's Works and Days (p. 168)M. L. West has surmised that Erasmus may have confused the story of Pandora with the story found elsewhere of a box which was opened by Psyche; the Panofskys (1956) follow him in this surmise.
^ Phipps, William E., Eve and Pandora Contrasted, in Theology Today, v.45, n.1, April 1988, Princeton: Princeton Theological Seminary. Wherein Phipps writes: "Classics scholars suggest that Hesoid reversed the meaning of the name of an earth goddess called Pandora (all-giving) or Anesidora (one-who-sends-up-gifts). Vase paintings and literary texts give evidence of Pandora as a mother earth figure who was worshipped by some Greeks. The main English commentary on Works and Days states that Hesiod shows no awareness of the mythology of a divine Pandora Anesidora giver of fertility."
^ Hence, possibly, the variant myth that Pandora's jar contained blessings for mankind.
^ Harrison, Prolegomena 1922, pp 280–83.
^ Compare the rising female figure, identified as Aphrodite, on the "Ludovisi Throne".
^ Sinclair, editor, Hesiod: Works and Days (London: Macmillan) 1932:12.
^ Smith, "The Making of Pandora" The Journal of Hellenic Studies 11 (1890, pp. 278–283), p 283.
^ William E. Phipps, "Eve and Pandora contrasted" Theology Today 45 on-line text
^ Harrison, Prolegomena to the Study of Greek Religion (1903) 1922: 283–85 quoted in Graves, The Greek Myths (1955) 1960, sect.39.8 p. 148.
^ Cf. Rose, A Handbook of Greek Literature; From Homer to the Age of Lucian, Chapter III, Hesiod and the Hesiodic Schools, p. 61. "Its attitude towards women is decidedly more illiberal than that of epic; a good wife is indeed the best prize a man can win (702), but a bad one is the greatest curse; generally speaking women are a snare and a temptation (373–5) and Pandora was the origin of all our woes".
^ a b Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" American Journal of Archaeology 99.2 (April 1995: 171–186)
^ 1 Tim 2:14
^ "Eve and Pandora contrasted". 1988. Retrieved 2010-11-18. Vol 45, No.1 - April 1987, a scholarly comparison of the myths of Pandora and the Genesis story of Eve.
[edit]References

Athanassakis, A. Hesiod: Theogony, Works and Days, Shield (New York 1983).
Beall, E. "The Contents of Hesiod's Pandora Jar: Erga 94–98," Hermes 117 (1989) 227–30.
Harrison, Jane Ellen, Prolegomena to the Study of Greek Religion (1903) 1922, pp. 280–85.
Griffith, Mark. Aeschylus Prometheus Bound Text and Commentary (Cambridge 1983).
Hesiod; Works and Days, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA.,Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library.
Hesiod, Works and Days, ed. with prolegomena and commentary (Oxford 1978).
Hesiod, Theogony, and Works and Days (Oxford 1988).
Patrick Kaplanian, Mythes grecs d'Origine, volume I, Prométhée et Pandore, Ed. L'entreligne, Paris 2011, distribution Daudin
Kenaan, Pandora's Senses: The Feminine Character of the Ancient Text (Madison, WI: The University of Wisconsin Press, 2008), pp. xii, 253 (Wisconsin Studies in Classics).
Kirk, G.S., Myth: Its Meaning and Functions in Ancient and Other Cultures (Berkeley 1970) 226–32.
Lamberton, Robert, Hesiod, New Haven: Yale University Press, 1988. ISBN 0-300-04068-7. Cf. Chapter II, "The Theogony", and Chapter III, "The Works and Days", especially pp. 96–103 for a side-by-side comparison and analysis of the Pandora story.
Leinieks, V. "Elpis in Hesiod, Works and Days 96," Philologus 128 (1984) 1–8.
Meagher, Robert E.; The Meaning of Helen: in Search of an Ancient Icon, Bolchazy-Carducci Publishers, 1995. ISBN 978-0-86516-510-6.
Moore, Clifford H. The Religious Thought of the Greeks, 1916.
Neils, Jenifer, The Girl in the Pithos: Hesiod’s Elpis, in "Periklean Athens and its Legacy. Problems and Perspectives", eds. J. M. Barringer and J. M. Hurwit (Austin : University of Texas Press), 2005, pp. 37–45.
Nilsson, Martin P. History of Greek Religion, 1949.
Phipps, William E., Eve and Pandora Contrasted, in Theology Today, v.45, n.1, April 1988, Princeton: Princeton Theological Seminary.
Pucci, Pietro, Hesiod and the Language of Poetry (Baltimore 1977)
Rose, Herbert Jennings, A Handbook of Greek Literature; From Homer to the Age of Lucian, London, Methuen & Co., Ltd., 1934. Cf. especially Chapter III, Hesiod and the Hesiodic Schools, p. 61
Schlegel, Catherine and Henry Weinfield, "Introduction to Hesiod" in Hesiod / Theogony and Works and Days, University of Michigan Press, 2006. ISBN 978-0-472-06932-3.
Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Pando'ra"
Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Anesido'ra"
Verdenius, Willem Jacob, A Commentary on Hesiod Works and Days vv 1–382 (Leiden: E.J. Brill, 1985). ISBN 90-04-07465-1. This work has a very in-depth discussion and synthesis of the various theories and speculations about the Pandora story and the jar. Cf. p. 62 and onwards.
Vernant, J. P., Myth and Society in Ancient Greece (New York 1990) 183–201.
Vernant, J. P. « Le mythe prométhéen chez Hésiode », in Mythe et société en Grèce ancienne, Paris, Maspéro, 1974, pp. 177–194
Warner, M., Monuments and Maidens: The Allegory of the Female Form (New York 1985) 213–40
West, M. L. Hesiod, Theogony, ed. with prolegomena and commentary (Oxford 1966).
West, M. L. Hesiod, Works and Days, ed. with prolegomena and commentary (Oxford 1978).
Zeitlin, Froma. Playing the Other: Gender and Society in Classical Greek Literature (Princeton 1995).
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