A winged ker with a fillet hovers overhead: "Pandora rises from the earth; she is the Earth, giver of all gifts," Harrison observes. In some cases the figure of Pandora emerging from the earth is surrounded by figures carrying hammers in what has been suggested as a scene from a satyr play by Sophocles, Pandora, or The Hammerers, of which only fragments remain. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. "all" and δῶρον, dōron, i.e. [13] Hesiod closes with a moral (105): there is "no way to escape the will of Zeus. When Epimetheus returns, she begs him to kill her but he accepts joint responsibility. This initiates a debate among the gods whether a creation outside their own work is justified; his devotion is in the end rewarded with permission to marry his statue. The meaning of Pandora's name, according to the myth provided in Works and Days, is "all-gifted". The Pandora myth first appeared in lines 560–612 of Hesiod's poem in epic meter, the Theogony (c. 8th–7th centuries BC), without ever giving the woman a name. Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. ", Hesiod also outlines how the end of man's Golden Age (an all-male society of immortals who were reverent to the gods, worked hard, and ate from abundant groves of fruit) was brought on by Prometheus. 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. [2][3] As Hesiod related it, each god cooperated by giving her unique gifts. [19] 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. In the 15th-century AD an attempt was made to conjoin pagan and scriptural narrative by the monk Annio da Viterbo, who claimed to have found an account by the ancient Chaldean historian Berossus in which "Pandora" was named as a daughter-in-law of Noah in the alternative Flood narrative. Verdenius, p. 64, comment on line 94, on pithos. Pandore, tenant dans ses mains un grand vase, en souleva le couvercle, et les maux terribles qu'il renfermait se répandirent au loin. Arrêtée sur les bords du vase, elle ne s'envola point, Pandore ayant remis le couvercle, par l'ordre de Jupiter qui porte l'égide et rassemble les nuages. As well as the many European paintings of her from this period, there are examples in sculptures by Henri-Joseph Ruxthiel (1819),[42]John Gibson (1856),[43] Pierre Loison (1861, see above) and Chauncy Bradley Ives (1871).[44]. The latter is also typical of Voltaire’s ultimately unproduced opera Pandore (1740). Broadcast your events with reliable, high-quality live streaming. This necessitated her falling “as if dead” on hearing the judgement against Prométhée in Act 1; a funeral procession bearing her body at the start of Act 2, after which she revives to mourn the carrying out of Prométhée's sentence; while in Act 3 she disobeys Prométhée by accepting a box, supposedly filled with blessings for mankind, and makes the tragedy complete. [40] Its ideological purpose, however, was to demonstrate an equal society unified by the harmonious function of those within it. An independent tradition that does not square with any of the Classical literary sources is 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. [34] There were also earlier English paintings of the newly created Pandora as surrounded by the heavenly gods presenting gifts, a scene also depicted on ancient Greek pottery. Her left arm is wreathed by a snake (another reference to the temptation of Eve) and that hand rests on an unstopped jar, Pandora's attribute. [51] Again, Pietro Paolini’s lively Pandora of about 1632 seems more aware of the effect that her pearls and fashionable headgear is making than of the evils escaping from the jar she holds. TM + © 2020 Vimeo, Inc. All rights reserved. Hesiod. He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the human race. Thus, Pandora was created and given the jar (mistranslated as 'box') which releases all evils upon man. [63] The work was performed on 2 July 1789, on the very eve of the French Revolution,[64] and was soon forgotten in the course of the events that followed. [20][21] Hesiod's myth of Pandora's jar, then, could be an amalgam of many variant early myths. However, according to others Pandora more properly means "all-giving". For Harrison, therefore, Hesiod's story provides "evidence of a shift from matriarchy to patriarchy in Greek culture. Accompanying an illustration of her opening the lid of an urn from which demons and angels emerge is a commentary that condemns “female curiosity and the desire to learn by which the very first woman was deceived”. Above hangs the sign from which the painting gains its name and beneath it is a closed jar, perhaps the counterpart of the other in Olympus, containing blessings.[49]. Make social videos in an instant: use custom templates to tell the right story for your business. Then in the latter’s house an “oaken chest, Carven with figures and embossed with gold” attracts her curiosity. Liam Lennihan,"The Writings of James Barry and the Genre of History Painting", Routledge 2017, Online version at the Perseus Digital Library, "Periklean Athens and its Legacy. For she brings with her a jar (which, due to textual corruption in the sixteenth century, came to be called a box)[10][11] [12] containing "countless plagues" (100). According to this, Pandora opened a jar (pithos) (commonly referred to as "Pandora's box") releasing all the evils of humanity. "All-Gift"], because all they who dwelt on Olympus gave each a gift, a plague to men who eat bread" (81–2).[9]. Hesiod's interpretation of Pandora's story went on to influence both Jewish and Christian theology and so perpetuated her bad reputation into the Renaissance. Court-métrage de fin d'étude à l'ESEC, section montage - truquage Mythe de la boîte de Pandore - tourné sur fond vert… This comes out in portrayals of Pandora as a young girl, as in Walter Crane’s “Little Pandora” spilling buttons while encumbered by the doll she is carrying,[53] in Arthur Rackham’s book illustration[54] and Frederick Stuart Church’s etching of an adolescent girl taken aback by the contents of the ornamental box she has opened. would not have omitted describing such an important detail. It is in fact a philosophical transformation of Goethe's passion in old age for a teenaged girl. It was based in part on the Prometheus Bound of Aeschylus but was rewritten so as to give the character of Pandore an equal part with his. L'entreligne, Paris 2011, distribution Daudin, Schlegel, Catherine and Henry Weinfield, "Introduction to Hesiod" in, Vernant, J. P. « Le mythe prométhéen chez Hésiode », in Mythe et société en Grèce ancienne, Paris, Maspéro, 1974, pp. Bishop Jean Olivier's long Latin poem Pandora drew on the Classical account as well as the Biblical to demonstrate that woman is the means of drawing men to sin. "[23], Jane Ellen Harrison[24] also turned to the repertory of vase-painters to shed light on aspects of myth that were left unaddressed or disguised in literature. Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story. After she eventually gives in to temptation and opens it, she collapses in despair and a storm destroys the garden outside. Our panel for Adobe Premiere Pro uploads to Vimeo and simplifies your workflow. The Hesiodic myth did not, however, completely obliterate the memory of the all-giving goddess Pandora. [17] Erasmus, however, translated pithos into the Latin word pyxis, meaning "box". But on the front of the chest, a medallion showing the serpent wound about the tree of knowledge recalls the old interpretation of Pandora as a type of Eve. They each add that the couple had a daughter, Pyrrha, who married Deucalion and survived the deluge with him. "[30] Sometimes,[31] but not always, she is labeled Pandora. [36] William Etty’s Pandora Crowned by the Seasons of a century later is similarly presented as an apotheosis taking place among the clouds. [18] The phrase "Pandora's box" has endured ever since. As a result, Hesiod tells us, the earth and sea are "full of evils" (101). The ancient myth of Pandora never settled into one accepted version, was never agreed to have a single interpretation. There is an additional reason why Pandora should appear nude, in that it was a theological commonplace going back to the early Church Fathers that the Classical myth of Pandora made her a type of Eve. Please enable JavaScript to experience Vimeo in all of its glory. (Harrison 1922:284). from A scholium to line 971 of Aristophanes' The Birds mentions a cult "to Pandora, the earth, because she bestows all things necessary for life". It begins with her creation, her refusal by Prometheus and acceptance by Epimetheus. [37], In between these two had come James Barry’s huge Birth of Pandora, on which he laboured for over a decade at the turn of the nineteenth century. melody pomier. Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story.. Theogony. Prometheus moulds a clay statue of Minerva, the goddess of wisdom to whom he is devoted, and gives it life from a stolen sunbeam. L'Espérance seule resta. [71], Pandora (1861) by Pierre Loison (1816–1886), Madame Vestris in the burlesque Prometheus and Pandora, an 1831 print, Swedish soprano Christine Nilsson as Pandora by Alexandre Cabanel, 1873, Jane Morris in the role, Dante Gabriel Rossetti, coloured chalks, 1879, Yvonne Gregory’s photogram recreates a pose from a painting, 1919. Représentation ancienne 1038 femmes représentées La vengeance de Zeus Représentation contemporaine Chaque côté est associé à une époque The Dinner Party/Le dîner festif Sophia: sagesse Athéna: « celle qui fait sortir les présents des profondeurs » dévoré par un aigle chaque jour 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 shameless mind and a 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 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 [i.e. The earliest of these works was the lyrical dramatic fragment by Johann Wolfgang von Goethe, written between 1807 and 1808. Later poets, dramatists, painters and sculptors made her their subject and over the course of five centuries contributed new insights into her motives and significance. But an alternative interpretation of Pandora’s curiosity makes it merely an extension of childish innocence. Beall, E. "The Contents of Hesiod's Pandora Jar: Patrick Kaplanian, Mythes grecs d'Origine, volume I, Prométhée et Pandore, Ed. Outside the palace, a high wind is bending the trees. La boîte de Pandore Le mythe de la boîte de Pandore est lié à la tentation. After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. as on a volute krater, ca 450 BC, in the. It is a costume drama peppered with comic banter and songs during which the gods betroth Pandora to a disappointed Prometheus with “only one little box” for dowry. Robert Graves, quoting Harrison,[27] asserts of the Hesiodic episode that "Pandora is not a genuine myth, but an anti-feminist fable, probably of his own invention." This is "THEME "RSE, mythe de l'Arlésienne ou boite de Pandore" - GROUPE 11" by melody pomier on Vimeo, the home for high quality… The main English commentary on Works and Days states that Hesiod shows no awareness [of this]. When he stole Fire from Mt. "Scatter-brained [of Zeus the woman, the maiden whom he had formed." [35] In one case it was part of a decorative scheme painted on the ceiling at Petworth House by Louis Laguerre in about 1720. There Prometheus, having already stolen fire from heaven, creates a perfect female, “artless in nature, of limpid innocence”, for which he anticipates divine vengeance. [59] There too the creator of a statue animates it with stolen fire, but then the plot is complicated when Jupiter also falls in love with this new creation but is prevented by Destiny from consummating it. The pattern during the 19th century had only repeated that of the nearly three millennia before it. If Pandora appears suspended between the roles of Eve and of Pygmalion’s creation in Voltaire’s work, in Charles-Pierre Colardeau’s erotic poem Les Hommes de Prométhée (1774) she is presented equally as a love-object and in addition as an unfallen Eve: Having been fashioned from clay and given the quality of “naïve grace combined with feeling”, she is set to wander through an enchanted landscape. La Boîte de Pandore Le mythe: La boîte de Pandore La morale Les personnages principaux Fonction du mythe Les Travaux et Les Jours – Hésiode La plus ancienne et complète version du mythe Pandore - 1ère femme humaine - créée par les dieux - épouse d' Epiméthée (titan) - signifie: Prometheus had (fearing further reprisals) warned his brother Epimetheus not to accept any gifts from Zeus. However, his patron Minerva descends to announce that the gods have gifted Pandora with other qualities and that she will become the future model and mother of humanity. Best known in the end for a single metaphorical attribute, the box with which she was not even endowed until the 16th century, depictions of Pandora have been further confused with other holders of receptacles – with one of the trials of Psyche,[72] with Sophonisba about to drink poison[73] or Artemisia with the ashes of her husband. "gift", thus "the all-endowed", "all-gifted" or "all-giving")[1] was the first human woman created by Hephaestus on the instructions of Zeus. But Epimetheus did not listen; he accepted Pandora, who promptly scattered the contents of her jar. An alternative name for Pandora attested on a white-ground kylix (ca. [74] Nevertheless, her very polyvalence has been in the end the guarantor of her cultural survival. The mistranslation of pithos, a large storage jar, as "box"[15] is usually attributed to the sixteenth century humanist Erasmus of Rotterdam when he translated Hesiod's tale of Pandora into Latin. [14]. On s'accorde généralement pour considérer le mythe de Dédale et d'Icare comme celui qui illustre le mieux le thème des voyages aériens des mortels. Written above this figure (a convention in Greek vase painting) is the name Anesidora. 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. Pandore, d’une beauté absolue fut créée par Zeus, Héphaïstos et les autres Dieux pour incarner la perfection. Over the course of the 19th century, the story of Pandora was interpreted in radically different ways by four dramatic authors in four countries. "[26] Thus, Harrison concludes "in the patriarchal mythology of Hesiod her great figure is strangely changed and diminished. Archaic and Classic Greek literature seem to make little further mention of Pandora, but mythographers later filled in minor details or added postscripts to Hesiod's account. La Estatua de Prometeo (1670) by Pedro Calderón de la Barca is made an allegory in which devotion to learning is contrasted with the active life. Her other name—inscribed against her figure on a white-ground kylix in the British Museum[4]—is Anesidora (Ancient Greek: Ἀνησιδώρα), "she who sends up gifts"[5] (up implying "from below" within the earth). Vase paintings and literary texts give evidence of Pandora as a mother earth figure who was worshipped by some Greeks. [55] The same innocence informs Odilon Redon’s 1910/12 clothed figure carrying a box and merging into a landscape suffused with light,[56] and even more the 1914 version of a naked Pandora surrounded by flowers, a primaeval Eve in the Garden of Eden. [7], Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends with good. In this retelling of her story, Pandora's deceitful feminine nature becomes the least of humanity's worries. Another point to note about Calderón’s musical drama is that the theme of a statue married by her creator is more suggestive of the story of Pygmalion. A.H. Smith,[25] however, noted 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. 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.[28]. For details on the meaning of the name "Pandora" see "Difficulties of Interpretation" below. It was used as a vehicle to illustrate the prevailing ideologies or artistic fashions of the time and eventually became so worn a coinage that it grew confused with other, sometimes later, stories. [33], In a late Pre-Raphaelite painting by John D. Batten, hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of “Pandora”. Hesiod's pithos refers to a large storage jar, often half-buried in the ground, used for wine, oil or grain. 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". [20] 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 humanity. 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.