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From Wikipedia, the free encyclopedia
For other uses, see Pandora (disambiguation).
As Hesiod related it, each god cooperated by giving her unique gifts. Her other name
[3]
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. [7]
Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends
with good."
Works and Days[edit]
Pandora holding a pithos, with Hermes, and a seated Prometheus, Prometheus, Mercury, and Pandora, 1814, by Josef Abel
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 [8]
upon her origin and moreover widens the scope of the misery she inflicts on humanity.
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. "All-Gift"], because all they
who dwelt on Olympus gave each a gift, a plague to men who eat bread" (81–2). [9]
In this retelling of her story, Pandora's deceitful feminine nature becomes the least of
humanity's worries. For she brings with her a jar (which, due to textual corruption in the
sixteenth century, came to be called a box) containing "countless plagues" (100).
[10][11][12]
The mistranslation of pithos, a large storage jar, as "box" is usually attributed to the
[15]
however, translated pithos into the Latin word pyxis, meaning "box". The phrase [18]
Difficulties of interpretation[edit]
Historic interpretations of the Pandora figure are rich enough to have offered Dora
and Erwin Panofsky scope for monographic treatment. M. L. West writes that the story
[19]
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. He writes that in earlier
[20]
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. 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. Hesiod's myth of Pandora's jar, then, could be an
[20][21]
Hesiodic myth of the goddess Pandora endured for centuries after the time of Hesiod.
An alternative name for Pandora attested on a white-ground kylix (ca. 460 BC)
is Anesidora, which similarly means "she who sends up gifts." 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. In view of such evidence, William E. Phipps has pointed out,
"Classics scholars suggest that Hesiod 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 this]." [23]
Hermes carrying Pandora down from Mount Olympus, a medal based on a design by John Flaxman
Jane Ellen Harrison also turned to the repertory of vase-painters to shed light on
[24]
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. For Harrison, therefore, Hesiod's story provides "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." Thus, Harrison concludes "in the
[26]
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. [28]
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". And in fifth- [29]
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.
Artistic representations[edit]
Hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of
"Pandora" in the painting by John D. Batten, The Creation of Pandora, 1913, tempera on fresco, 128 x 168cm, Reading University
Images of Pandora began to appear on Greek pottery as early as the 5th century BC,
although identification of the scene represented is sometimes ambiguous. 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." Sometimes, but not always, she is labeled Pandora. In some cases
[30] [31]
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. But [32]
painted on the ceiling at Petworth House by Louis Laguerre in about 1720. William [35]
was working on the design, which was intended to reflect his theoretical writings on the
interdependence between history painting and the way it should reflect the ideal state.
An early drawing, only preserved now in the print made of it by Luigi Schiavonetti,
[38]
follows the account of Hesiod and shows Pandora being adorned by the Graces and the
Hours while the gods look on. Its ideological purpose, however, was to demonstrate an
[39]
equal society unified by the harmonious function of those within it. But in the actual
painting which followed much later, a subordinated Pandora is surrounded by gift-
bearing gods and Minerva stands near her, demonstrating the feminine arts proper to
her passive role. The shift is back to the culture of blame whenever she steps outside it.
[40]
Jean Cousin, painting on panel, Eva Prima Pandora (Eve the first Pandora), 1550
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. Each is the first woman in the world; and
[44]
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 as a punishment
for transgression of divine law.
It has been argued that it was as a result of the Hellenisation of Western Asia that
the misogyny in Hesiod's account of Pandora began openly to influence both Jewish
and then Christian interpretations of scripture. The doctrinal bias against women so
[45]
initiated then continued into Renaissance times. 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. Originally appearing in 1541 and
republished thereafter, it was soon followed by two separate French translations in 1542
and 1548. At the same period appeared a 5-act tragedy by the Protestant theologian
[46]
Leonhard Culmann (1498-1568) titled Ein schön weltlich Spiel von der schönen
Pandora (1544), similarly drawing on Hesiod in order to teach conventional Christian
morality. [47]
The equation of the two also occurs in the 1550 allegorical painting by Jean Cousin the
Elder, Eva Prima Pandora (Eve the first Pandora), in which a naked woman reclines in a
grotto. Her right elbow rests on a skull, indicating the bringing of death, and she holds
an apple branch in that hand – both attributes of Eve. 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. 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. [48]
succeeding century that desire to learn was equated with the female demand to share
the male prerogative of education. In Nicolas Regnier’s painting “The Allegory of Vanity”
(1626), subtitled “Pandora”, it is typified by her curiosity about the contents of the urn
that she has just unstopped and is compared to the other attributes of vanity
surrounding her (fine clothes, jewellery, a pot of gold coins). Again, Pietro Paolini’s
[50]
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.
There is a social message carried by these paintings too, for education, no less than
[51]
of an adolescent girl taken aback by the contents of the ornamental box she has
opened. The same innocence informs Odilon Redon’s 1910/12 clothed figure carrying
[54]
a box and merging into a landscape suffused with light, and even more the 1914 version
of a naked Pandora surrounded by flowers, a primaeval Eve in the Garden of Eden.
Such innocence, “naked and without alarm” in the words of an earlier French poet,
[55]
competition between Prometheus and his brother Epimetheus (signifying the active life),
and between the gods and men.
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. The latter is also
typical of Voltaire’s ultimately unproduced opera Pandore (1740). There too the creator
[57]
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. In
revenge the god sends Destiny to tempt this new Eve into opening a box full of curses
as a punishment for Earth’s revolt against Heaven. [58]
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:
Not ever had the painter’s jealous veil
Shrouded the fair Pandora’s charms:
Innocence was naked and without alarm. [59]
Having been fashioned from clay and given the quality of “naïve grace combined
with feeling”, she is set to wander through an enchanted landscape. There she
encounters the first man, the prior creation of Prometheus, and warmly responds to
his embrace. At the end the couple quit their marriage couch and survey their
surroundings “As sovereigns of the world, kings of the universe”.[60]
One other musical work with much the same theme was Aumale de Corsenville's
one-act verse melodrama Pandore, which had an overture and incidental music
by Franz Ignaz Beck. There Prometheus, having already stolen fire from heaven,
creates a perfect female, “artless in nature, of limpid innocence”, for which he
anticipates divine vengeance. 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. The work was performed on 2 July 1789, on
[61]
the very eve of the French Revolution, and was soon forgotten in the course of the
[62]
the title Pandora, what exists of the play revolves round Epimetheus’ longing for the
return of the wife who has abandoned him and has yet to arrive. A biographer has
argued that it is a philosophical transformation of Goethe's passion in old age for a
teenaged girl. [64]
twice used as the basis for operas by Alfred Cellier in 1881 and by Eleanor Everest
Freer in 1933. Iconographical elements from the masque also figure in Walter
[66]
In England the high drama of the incident was travestied in James Robinson
Planché’s Olympic Revels or Prometheus and Pandora (1831), the first of
the Victorian burlesques. 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. When she opens it, Jupiter descends to curse her and
Prometheus, but Hope emerges from the box and negotiates their pardon. [68]
Pandora in character[edit]
The pattern during the 19th century had only repeated that of the nearly three
millennia before it. The ancient myth of Pandora never settled into one accepted
version, was never agreed to have a single interpretation. 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. 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,
with Sophonisba about to drink poison or Artemisia with the ashes of her
[70] [71]
husband. Nevertheless, her very polyvalence has been in the end the guarantor of
[72]
Notes[edit]
1. ^ πᾶν, δῶρον. Liddell, Henry George; Scott, Robert; A Greek–English Lexicon at the Perseus Project; Evelyn-White, note
to Hesiod, Works and Days 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 (July 1974), pp. 341–345.
2. ^ "Scatter-brained [of Zeus the woman, the maiden whom he had formed." (Hesiod, Theogony 510 ff (Hugh G. White,
translator)
3. ^ Grimal, Pierre (1990). "Pandora". In Kershaw, Stephen (ed.). A concise dictionary of Classical Mythology. A. R. Maxwell-
Hyslop (translator). Oxford: Basil Blackwell Ltd. ISBN 0-631-16696-3.
4. ^ B.M. 1881,0528.1: white-ground cup from Nola, painted by the Tarquinia painter, c. 470–460 BC (British Museum on-line
catalogue entry)
5. ^ 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.
6. ^ Hesiod, Theogony 590–593.
7. ^ Hesiod, Theogony 604–607.
8. ^ Hesiod, Works and Days 60–105.
9. ^ For details on the meaning of the name "Pandora" see "Difficulties of Interpretation" below.
10. ^ A pithos is a very large jar, usually made of rough-grained terra cotta, used for storage.
11. ^ 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 humanity. This may have been a familiar tale which Hes. thought unnecessary to
relate."
12. ^ Contra West 1978, p. 168: "Hesiod omits to say where the jar came from, 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".
13. ^ 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."
14. ^ Cf. Hesiod, Works and Days, (90)
15. ^ 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.
16. ^ Cf. Verdenius, p. 64.
17. ^ 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."
18. ^ According to West 1978, p. 168, Erasmus "probably" 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.
19. ^ Panofsky 1956, see bibliography
20. ^ Jump up to:a b West 1978, pp. 165–166.
21. ^ Apollodorus, Library and Epitome, ed. Sir James George Frazer.
22. ^ Adrian Room, Who’s Who in Classical Mythology, Random House 2003, p.229
23. ^ Theology Today 45.1, Princeton Theological Seminary, April 1998
24. ^ Harrison, Prolegomena 1922, pp 280–83.
25. ^ Smith, "The Making of Pandora" The Journal of Hellenic Studies 11 (1890, pp. 278–283), p 283.
26. ^ William E. Phipps, "Eve and Pandora contrasted" Theology Today 45 on-line text Archived January 8, 2011, at
the Wayback Machine
27. ^ 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.
28. ^ 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".
29. ^ Jump up to:a b Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" American Journal of
Archaeology 99.2 (April 1995: 171–186)
30. ^ Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos" American Journal of Archaeology 99.2 (April
1995:171–186) p. 177.
31. ^ E.g. as on a volute krater, ca 450 BC, in the Ashmolean Museum, Oxford (Oxford G 275), Hurwit, p. 276 fig. 7.
32. ^ Sophocles: Fragments, Volume 3, pp.251-3
33. ^ Susan B. Matheson, Polygnotos and Vase Painting in Classical Athens, University of Wisconsin1995, pp.261-2
34. ^ "Theoi".
35. ^ "National Trust site".
36. ^ "Wikimedia".
37. ^ "Now in Manchester Art Gallery".
38. ^ Liam Lennihan,"The Writings of James Barry and the Genre of History Painting", Routledge 2017, p.186
39. ^ "The British Museum".
40. ^ John Barrell, James Barry, the birth of Pandora and the division of knowledge, Macmillan 1992, ch.7
41. ^ "Wikimedia".
42. ^ "Victoria & Albert Museum".
43. ^ "Brooklyn Museum". 30 October 2013.
44. ^ Stella P. Revard, “Milton and Myth” in Reassembling Truth: Twenty-first-century Milton, Susquehanna University
2003, p.37
45. ^ "Eve and Pandora contrasted". 1988. Archived from the original on January 8, 2011. Retrieved 2010-11-18. Theology
Today, Vol 45, No.1, April 1987
46. ^ Raymond Trousson, Le thème de Prométhée dans la littérature européenne, Geneva 2001, p.168
47. ^ "Berlin National Library".
48. ^ Pamela Norris, Eve: A Biography, New York University 2001, p.125
49. ^ Enciclopedia Akal de Emblemas Españoles Ilustrados, Madrid 1999, Emblem 1260
50. ^ Line Cottegnies, Sandrine Parageau, Women and Curiosity in Early Modern England and France, Brill 2016, p.12
51. ^ "Dorotheum auctions".
52. ^ "Victoria & Albert Museum".
53. ^ "Wikimedia".
54. ^ "Art of the Print".
55. ^ "Metropolitan Museum".
56. ^ David Jonathan Hildner, Reason and the Passions in the Comedias of Calderón, John Benjamin’s Publishing Co.
1982, pp.67-71
57. ^ The Works of M. de Voltaire, London 1762, pp.221-51
58. ^ Jean-François de La Harpe, Cours de littérature ancienne et moderne: Dix-huitième siècle, Paris 1825, pp.102-106
59. ^ Charles-Pierre Colardeau, Les Hommes de Prométhée (1774), p.16
60. ^ Colardeau, Charles Pierre (1775). "Les hommes de Promethée, poëme. Par m. Colardeau".
61. ^ Script and score on Google Books
62. ^ Cesare Scarton, Il melologo: una ricerca storica tra recitazione e musica, Edimond 1998, p.43
63. ^ Goethe, Verse Plays and Epic, Princeton University 1887, pp.209-246
64. ^ Albert Bielschowsky, The Life of Goethe, ch.XIII “Pandora” pp.388-404
65. ^ The Masque of Pandora and Other Poems, Boston 1876, pp.3-54
66. ^ Margaret Ross Griffel, Operas in English: A Dictionary, Scarecrow Press 2013, p.309
67. ^ Wikimedia
68. ^ James Robinson Planché, Charles Dance, Olympic Revels, or Prometheus and Pandora, a mythological, allegorical
burletta in one act, London 1834
69. ^ Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, Cambridge University 2004, pp.192 – 214
70. ^ Panofsky 1956, p.41
71. ^ "Sotherby's catalogue note".
72. ^ "Blouin Art Sales".
References[edit]
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, Theogony, in The Homeric Hymns and Homerica with an English
Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts, Harvard
University Press; London, William Heinemann Ltd. 1914. Online version at the
Perseus Digital Library.
Hesiod, Works and Days, in The Homeric Hymns and Homerica with an English
Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts, Harvard
University Press; London, William Heinemann Ltd. 1914. Online version at the
Perseus Digital Library.
Homer, The Iliad with an English Translation by A.T. Murray, Ph.D. in two
volumes. Cambridge, MA., Harvard University Press; London, William
Heinemann, Ltd. 1924. Online version at the Perseus Digital Library.
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.
Panofsky, Dora and Erwin, Pandoras Box - The Changing Aspects of a Mythical
Symbol, Bollingen Series 52, New York 1956
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 Luci