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[[Skeudenn:Pandora - John William Waterhouse.jpg|thumb|right|300px|''Pandora'' , gant [[John William Waterhouse]]]]
'''Pandora''' ( Πανδώρα e [[henc'hresianeg|gregach]] " an hini a ro pep tra"<ref>[http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%2377339 Pandora, Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus]</ref>), a oa ar vaouez kentañ e mojennoù [[Hellaz]] kozh<ref>"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." (Hesiodos, ''[[Teogonia]]'' 510 ff (Hugh G. Evelyn-White, translator)</ref>. Hervez ma skrivas [[Hesiodos]] en [[Teogonia]] e voe krouet gant an holl zoueed, rak pep hini anezho a roas dezhi ur perzh bennak.
[[Zeus]] an hini a c'hourc'hemennas da [[Hephaestos]] aozañ anezhi en Douar (''Γαîα'' – [[Gaia]]) evel un tamm eus ar binijenn roet da MabVab-Den war-lerc'h ma oa bet laeret an [[tan]] gant [[PrometeusPrometheüs]], hag an holl zoueed a gemeras un tamm perzh e-barzh reiñ d'ar vraventez drouk-se ampartizoù hoalus ken -ha -ken. <br />
Roet e voe da bried da [[Epimeteüs]].<br />
Hi eo plac'h ar voest, ur [[jarl]] e gwirionez, pa gomzer eus [[boest Pandora]] hiriv.
== An anv ==
Daou zoare zo da gompren anv « Pandora » : pe ''panta dôra'', an hini he deusbetdeus bet an holl zonezoù, pe ''pantôn dôra'' an hini a zo donezon, pe prof, a-berzh an holl zoueed.
== Teogonia Hesiodos ==
Pa oa bet roet an [[tan]] d'an dud gant [[Prometeüs]], goude ma oa bet laeret gantañ digant Zeus, e tivizas mestr an doueed, [[konnar]] ennañ, reiñ dezho ur prof all evel kastiz. Goulenn a reas digant [[Hefaistos]] stummañ ar vaouez kentañ gant pri, un droug kenedus a vije he diskennadezed o wallgas gouenn an dud. Graet e labour gant Hefaistos, e voe gwisket ar vaouez gant [[Atena]] en ur sae arc'hant, ur ouel brodet, garlantezioù (garlands) hag ur gurunenn aour.
Ar vaouez-se ha n'eo ket anvet en Teogonia n'hall bezañ nemet Pandora, a zo kaoz anezhi hiroc'h en oberenn all Hesiodotos, [[Al Labourioù hag an Deizioù]]. Kentañ ma voe gwelet gant an doueed hag an dud e voent bamet o sellout outi .
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But she was "sheer guile, not to be withstood by men."
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Ha Hesiodos da skrivañ (590–93):
:Anezhi eo deuet gouenn ar maouezed hag ar merc'hed
:Diganti eo gouenn an dud a varv ha meuriad ar maouezed a
:a vev e-touez an dudvarveldud varvel evit o brasañ trubuilh
:no helpmeets er baourentez kazus met er binvidigezh hepken.</poem></blockquote>
Doare brudetañ ar vojenn avat a deu eus ur varzhoneg all gant Hesiodos,
[[Al Labourioù hag an Deizioù]]. Enni (linennoù 60–105), e ra an oberour anv eus orin ar vaouez-se, hag e hira roll ar gwalennoù a daol war choug an dud. Gant Hefaistos eo krouet bepred, evel en oberenn all, met muioc'h a zoueed a gemer perzh en ober anezhi(63–82): [[Atena]] a zeskas dezhi gwriat ha gwiadiñ (63–4); [[Afrodite]] a skuilhas koantiz war he zal ...
<!-- "... and cruel longing and cares that weary the limbs" (65–6); [[Hermes]] a roas dezhi "ur spered mezhus hag un natur treitour" (67–8); Hermes also gave her the power of speech, putting in her "lies and crafty words" (77–80) ; Atena he gwiskas (72); next she, Persuasion and the [[Charites]] adorned her with necklaces and other finery (72–4); an [[Horae]] he fichas gant ur c'harlantez da gurunenn (75). Ha [[Hermes]] a ro d'ar vaouez-se un anv: Pandora – "Donezonet holl" – "abalamour ma voe roet ur prof dezhi gant pep douee olimpat" (81).<ref>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.</ref> 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<ref>A ''pithos'' is a very large jar, usually made of rough-grained terra cotta, used for storage.</ref><ref>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."</ref> containing<ref>''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".</ref> "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 (mythology)|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), hope:
<blockquote><poem>
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.</poem></blockquote>
He does not tell the reader why hope remained in the jar.<ref>Cf. Verdenius, p.66, regarding line 96, elpis. Verdenius says there are a vast number of explanations. "He 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."</ref>
Hesiod closes with this moral (105): "Thus it is not possible to escape the mind of Zeus."
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== Kaeraat ar vojenn diwezhatoc'h ==
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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.<ref>Sappho, fr. 207 in Lobel and Page.</ref>
Later mythographers filled in minor details or added postscripts to Hesiod's account. For example, [[Apollodorus]] 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 (mythology)|deluge]] with him. However, the Hesiodic ''[[Catalogue of Women]]'', fragment #2, 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 that he asserted that he had found to the Chaldean historian of the 3rd century BC, [[Berossus]], where "Pandora" was also named as a [[Wives aboard the Ark|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:
<blockquote><poem>
Hope is the only good god remaining among mankind;
the others have left and gone to [[Mount Olympus|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.</poem></blockquote>
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]],<ref>Babrius, ''Fabulla'' lviii.</ref> 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 pottery|red-figure]] vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these reprensentations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like [[Gaia (mythology)|Gaia]] herself."<ref>Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" ''American Journal of Archaeology'' '''99'''.2 (April 1995:171–186) p. 177.</ref> . Sometimes,<ref>E.g. as on a volute krater, ca 450 BC, in the [[Ashmolean Museum]], Oxford (Oxford G 275), Hurwit, p. 276 fig. 7.</ref> but not always, she is labeled ''Pandora''.
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== Penaos kompren ar vojenn ==
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Historic interpretations of the Pandora figure are rich enough to have offered [[Erwin Panofsky]] scope for monographic treatment.<ref>Panofsky, ''Pandora's Box: The Changing Aspects of a Mythical Symbol'' (New York, 1962).</ref> 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.<ref name="West164">West, ''Works and Days'', p.164.</ref> 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 [[Apollodorus]] that Prometheus created man from water and earth.<ref>Apollodorus, ''Library and Epitome'', ed. Sir James George Frazer.</ref><ref name="West164" /> Hesiod's myth of Pandora's jar, then, could be an amalgam of many variant early myths.
==Pandora ''an hini a ro pep tra'' : a mythic inversion== ▼In Hesiodic scholarship, the interpretive [[crux (literary)|crux]] has endured:<ref>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.</ref> Is Hope's imprisonment 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."<ref>West 1978:96.</ref> 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."<ref>Griffith 1983:250.</ref> 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?
Gerdarzh an anv Pandora, ''donezonet gant an holl'', a gaver e-barzh [[Al Labourioù hag an Deizioù]] n'eo nemet un [[displegadur pobl]] ([[folk etymology]]), a zo faos. ▼
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.<ref>Leinieks 1984, 1–4.</ref> Others hold the minority view that ''elpis'' should be rendered, "expectation of evil" (''vel sim'').<ref name="Verdenius1985">E.g., Verdenius 1985; Blumer 2001.</ref>
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]]?<ref>The prison/pantry terminology comes from Verdenius 1985 ad 96.</ref> 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.<ref>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.</ref> 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.<ref>See Griffith 1984 above.</ref>
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.<ref> Thus Athanassakis 1983 in his commentary ad ''Works'' 96.</ref>
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.<ref>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.</ref>
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."<ref>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."</ref>
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.<ref name="Verdenius1985" />
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."<ref>West 1988, 169–70.</ref> Hope is thus preserved as a benefit for humans.<ref>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.</ref>
▲==Pandora ''an hini a ro pep tra'': a mythic inversion==
▲Gerdarzh an anv Pandora, ''donezonet gant an holl'', a gaver e-barzh [[Al Labourioù hag an Deizioù]] n'eo nemet un [[displegadur pobl]]([[folk etymology]]) a zo faos.
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Pandora properly means "all-giving" rather than "all-gifted." 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 Technique|white-ground]] [[Kylix (drinking cup)|kylix]] (ca. 460 BC) is ''Anesidora'', which similarly means "she who sends up gifts."<ref>Phipps, William E., [http://theologytoday.ptsem.edu/apr1988/v45-1-article3.htm ''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."</ref> 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 [[Gaia (mythology)|Gaea]] or [[Demeter]].
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 [[Mother goddess|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. 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.<ref>Hence, possibly, the variant myth that Pandora's jar contained blessings for mankind.</ref> [[Jane Ellen Harrison]]<ref>Harrison, ''Prolegomena'' 1922, pp 280–83.</ref> 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.<ref>Compare the rising female figure, identified as Aphrodite, on the "[[Ludovisi Throne]]".</ref> A winged ''[[Keres (mythology)|ker]]'' with a fillet hovers overhead: "Pandora rises from the earth; she ''is'' the Earth, giver of all gifts," Harrison observes.
Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. T. A. Sinclair, commenting on ''Works and Days''<ref>Sinclair, editor, ''Hesiod: Works and Days'' (London: Macmillan) 1932:12.</ref> argues that Hesiod shows no awareness of the mythology of such a divine "giver". A.H. Smith,<ref>Smith, "The Making of Pandora" ''The Journal of Hellenic Studies'' '''11''' (1890, pp. 278–283), p 283.</ref> 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."<ref>William E. Phipps, "Eve and Pandora contrasted" ''Theology Today'' '''45''' [http://theologytoday.ptsem.edu/apr1988/v45-1-article3.htm on-line text]</ref> 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,<ref>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.</ref> 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|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.<ref>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".</ref>
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 (play)|The Birds]]'' mentions a cult "to Pandora, the earth, because she bestows all things necessary for life".<ref>Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" ''American Journal of Archaeology'' '''99'''.2 (April 1995: 171–186).</ref>
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 frize along the base of the ''[[Athena Parthenos]]'' the culminating experience on the [[Acropolis]]; there Jeffrey M. Hurwit has interpreted her presence as an "anti-Athena" reinforcing civic ideologies of [[patriarchy]] and the "highly gendered social and political realities of fifth-century Athens."<ref>Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" ''American Journal of Archaeology'' '''99'''.2 (April 1995: 171–186)</ref> Interpretation has never come easy: [[Pausanias (geographer)|Pausanias]] (i.24.7) merely noted the subject and moved on. Jeffrey Hurwit has argued that Pandora represents an "anti-Athena", similarly a child of no mother, an embodiment of the need for the patriarchal rule that the virginal Athena, rising above her sex, defended.
[[Image:Nicolas Régnier - Allegory of Vanity (Pandora).JPG|thumb|[[Nicolas Régnier]]: ''Allegory of Vanity — Pandora'', c. 1626. Régnier portrayed Pandora with a jar, not a box.]]
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== ''Pithos'' troet en "boest" ==
Falldroidigezh ar ''pithos'', ur jarl bras, en "boest"<ref>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 [[Anthestria]].</ref> a vez lakaet war gont al lenneg [[Erasmus Rotterdam]] a droas kontadenn Hesiodos en latin er {{XVIvet kantved }}. ▼{{main|Pandora's box}}
▲Falldroidigezh ar ''pithos'', ur jarl bras, en "boest"<ref>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 [[Anthestria]].</ref> a vez lakaet war gont al lenneg [[Erasmus Rotterdam]] a droas kontadenn Hesiodos en latin er XVIvet kantved.
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Hesiod's ''pithos'' refers to a large storage jar, often half-buried in the ground, used for wine, oil or grain.<ref>Cf. Verdenius, p. 64.</ref> It can also refer to a funerary jar.<ref>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.''"</ref>
Erasmus, however, translated ''pithos'' into the Latin word ''[[Pyxis (pottery)|pyxis]]'', meaning "box".<ref>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 [[Eros and Psyche|Psyche]]; the Panofskys (1956) follow him in this surmise.</ref> The phrase "Pandora's box" has endured ever since.
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