DOI Kapitel:
Divison D: The Acropolis, from the Propylaea to the statue of Athene Lemnia
DOI Kapitel:Section XVIII
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61302#0625
SEC. XVIII
OF ANCIENT ATHENS
451
British Museum, which also possesses the only other vase known
as certainly referring to the birth of Pandora. This other vase
(Cat., F. 113) is of late coarse work, and represents the scene in
a fashion that shows the artist was influenced by some—probably
comic—theatrical representation. The composition is in two lines
—above, a number of Satyrs are dancing ; below, Pandora (a stiff,
formal figure) is standing just born, not yet fully alive ; and to
either side are various gods gesticulating.
For mythology the great interest of the beautiful design centres
in the inscription above the head of Pandora; it is not “ Pandora,”
but “ (A)nesidora.” There is no trace of the initial A, but it may
safely be supplied, as the form “ Nesidora” gives no sense, and is
never met with elsewhere. The name is of the utmost importance,
for it points to a meaning in the myth which might otherwise have
remained unnoticed. To any one reading Hesiod’s story of the
birth of Pandora, it might seem strange that on the basis of the
great cultus image such a story should be depicted. Twice Hesiod
tells the tale in the Theogony and in the Works and Days (5 9-8 2 ).98a
Its plea is that of the Semite Adam, “ The woman tempted me —
“Thus he spoke—and the Father of mortals and gods immortal laughed,
And Hephaistos the Famous he hade right swiftly to ply his craft ;
To knead up earth with water, and give it the voice of a man,
And the strength, but a face to look as the gods immortal can,
And a maid’s fair desirable form ;—and next Athene he bade,
‘Teach her the work she must do, how the wonderful web is made,’
And Aphrodite the Golden, ‘ Pour beauty about her head,
And weariful longing of love, and cares that bring down to the dead.
And give thou a shameless mind, and all furtive thievish ways,
Hermes, Argus-slayer, who marshalest souls to their place.’
He spoke, and they did the will of Zeus, son of Kronos, the Lord ;
For straightway the Halting One, the Famous, at his word,
Took clay and moulded an image, in form of a maiden fair,
And Athene the gray-eyed goddess girt her and decked her hair.
And about her the Graces divine and our Lady Persuasion set
Bracelets of gold on her flesh ; and about her others yet
The Hours, with their beautiful hair, twined wreaths of blossoms of spring,
While Pallas Athene still ordered her decking in everything.
Then put the Argus-slayer, the marshal of souls to their place,
Tricks and flattering words in her bosom, and thievish ways.
He wrought by the will of Zeus, the Loud-thundering, giving her voice,
Spokesman of gods that he is, and for name of her this was his choice, ·
Pandora, because in Olympus the gods joined together then,
And all of them gave her, a gift, a sorrow, to covetous men.”
(Hesiod, Works and Days, 59-82.)
OF ANCIENT ATHENS
451
British Museum, which also possesses the only other vase known
as certainly referring to the birth of Pandora. This other vase
(Cat., F. 113) is of late coarse work, and represents the scene in
a fashion that shows the artist was influenced by some—probably
comic—theatrical representation. The composition is in two lines
—above, a number of Satyrs are dancing ; below, Pandora (a stiff,
formal figure) is standing just born, not yet fully alive ; and to
either side are various gods gesticulating.
For mythology the great interest of the beautiful design centres
in the inscription above the head of Pandora; it is not “ Pandora,”
but “ (A)nesidora.” There is no trace of the initial A, but it may
safely be supplied, as the form “ Nesidora” gives no sense, and is
never met with elsewhere. The name is of the utmost importance,
for it points to a meaning in the myth which might otherwise have
remained unnoticed. To any one reading Hesiod’s story of the
birth of Pandora, it might seem strange that on the basis of the
great cultus image such a story should be depicted. Twice Hesiod
tells the tale in the Theogony and in the Works and Days (5 9-8 2 ).98a
Its plea is that of the Semite Adam, “ The woman tempted me —
“Thus he spoke—and the Father of mortals and gods immortal laughed,
And Hephaistos the Famous he hade right swiftly to ply his craft ;
To knead up earth with water, and give it the voice of a man,
And the strength, but a face to look as the gods immortal can,
And a maid’s fair desirable form ;—and next Athene he bade,
‘Teach her the work she must do, how the wonderful web is made,’
And Aphrodite the Golden, ‘ Pour beauty about her head,
And weariful longing of love, and cares that bring down to the dead.
And give thou a shameless mind, and all furtive thievish ways,
Hermes, Argus-slayer, who marshalest souls to their place.’
He spoke, and they did the will of Zeus, son of Kronos, the Lord ;
For straightway the Halting One, the Famous, at his word,
Took clay and moulded an image, in form of a maiden fair,
And Athene the gray-eyed goddess girt her and decked her hair.
And about her the Graces divine and our Lady Persuasion set
Bracelets of gold on her flesh ; and about her others yet
The Hours, with their beautiful hair, twined wreaths of blossoms of spring,
While Pallas Athene still ordered her decking in everything.
Then put the Argus-slayer, the marshal of souls to their place,
Tricks and flattering words in her bosom, and thievish ways.
He wrought by the will of Zeus, the Loud-thundering, giving her voice,
Spokesman of gods that he is, and for name of her this was his choice, ·
Pandora, because in Olympus the gods joined together then,
And all of them gave her, a gift, a sorrow, to covetous men.”
(Hesiod, Works and Days, 59-82.)