If elpis means 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. Some have argued that logic dictates, therefore, that the jar acts as a prison for elpis as well, withholding it from the human race. The answer to the first question largely depends on the answer to the second one: should the jar be interpreted as a prison, or a pantry? The jar certainly serves as a prison for the evils that Pandora released – they only affect humanity once outside the jar. Others hold the minority view that elpis should be rendered "expectation of evil" ( vel sim). A number of scholars prefer the neutral translation of "expectation." 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 extant ancient Greek literature. West: " is comforting, and we are to be thankful for this antidote to our present ills." Some scholars such as Mark Griffith, however, take the opposite view: " seems to be a blessing withheld from men so that their life should be the more dreary and depressing." The interpretation hangs on two related questions: First, how is elpis to be rendered, the Greek word usually translated as "hope"? Second, does the jar preserve elpis for men, or keep it away from men?Īs with most ancient Greek words, elpis can be translated a number of ways.
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In Hesiodic scholarship, the interpretive crux has endured: Is the hope imprisoned within a jar full of evils to be considered a benefit for humanity, or a further curse? A number of mythology textbooks echo the sentiments of M. Hope ( spes) is delayed on the lip and holds aloft the flower that is her attribute. They are identified by their names in Latin: security ( salus), harmony ( concordia), fairness ( aequitas), mercy ( clementia), freedom ( libertas), happiness ( felicitas), peace ( pax), worth ( virtus) and joy ( laetitia). He is shown holding the lid of a large storage jar from which female representations of the Roman virtues are flying up into the air. Faerno’s short poem also addressed the origin of hope but in this case it is the remainder of the "universal blessings" ( bona universa) that have escaped: "Of all good things that mortals lack,/Hope in the soul alone stays back." Īn idea of the nature of the blessings lost is given in a Renaissance engraving by Giulio Bonasone, where the culprit is Pandora’s husband, Epimetheus. Alciato only alluded to the story while depicting the goddess Hope seated on a jar in which, she declares, "I alone stayed behind at home when evils fluttered all around, as the revered muse of the old poet has told you". In the Renaissance, the story of the jar was revisited by two immensely influential writers, Andrea Alciato in his Emblemata (1534) and the Neo-Latin poet Gabriele Faerno in his collection of a hundred fables ( Fabulum Centum, 1563). Once the lid was replaced, only hope remained, "promising that she will bestow on each of us the good things that have gone away." This aetiological version is numbered 312 in the Perry Index. Rather than a named female, it was a generic "foolish man" (ἀκρατὴς ἄνθρωπος) who opened the jar out of curiosity and let them escape. It is confirmed in the new era by an Aesopic fable recorded by Babrius, in which the gods send the jar containing blessings to humans. The poem seems to hint at a myth in which the jar contained blessings rather than evils.
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Giulio Bonasone’s 16th century engraving of Epimetheus opening the fatal jar In his version the box is opened by Epimetheus, whose name means 'Afterthought' – or as Hesiod comments, "he whom mistakes made wise". The context in which the story appeared was Erasmus' collection of proverbs, the Adagia (1508), in illustration of the Latin saying Malo accepto stultus sapit (from experiencing trouble a fool is made wise).
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The mistranslation of pithos is usually attributed to the 16th-century humanist Erasmus who, in his Latin account of the story of Pandora, changed the Greek pithos to pyxis, meaning "box". Many scholars see a close analogy between Pandora herself, who was made from clay, and the clay jar which dispenses evils.
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Pithoi were used for storage of wine, oil, grain or other provisions, or, ritually, as a container for a human body for burying, from which it was believed souls escaped and necessarily returned. The word translated as "box" was actually a large jar (πίθος pithos) in Greek.