tight是什么意思希腊神话中对潘多拉的评价 女人的典型性格等

2021年1月26日发(作者：日神)
Pandora as being formed after Prometheus twice transgresses against Zeus; first
through
deceitful
sacrifice
and
secondly
through
the
theft
of
fire.
As
a
consequence
of
these
actions,
Zeus
decrees
that
he
“shall
give
them
[men]
an
affliction
in
which
they
will
all
delight
as
they
embrace
their
own
misfortune.”
the
latter
naming
her
Pandora, “All gift, because all the dwellers on Olympus made her their gift –
a
calamity for men who live by bread.” (Hesiod.
Works and Days
. West trans. 81-3)
Importantly, Herme
s places in her heart “lies and wily pretences and a knavish
nature.”
(Hesiod.
Works
and
Days
.
West
trans.
68).
The
introduction
of
Pandora
into
the
mortal
realm
may
be
viewed
as
a
continuation
of
the
civilising
of
mankind.
Through
the duplicitous actions of Prometheus, a precedent has been set regarding
sacrificial ritual, and the use of fire further elevates humans above the other
beasts inhabiting the earth. Pandora’s presence will continue this trend through
the institution of the marriage rite; or as V
ernant writes, “the female creature
fashioned by the gods for the human beings is described as a
parthenos
[virgin]
adorned to celebrate her marriage.” (Vernant190
-1). Thus from the first, she
appears as daughter, virgin and bride; this intimates not only her future role in
procreation, but also the need for women to enter unions both sanctioned and
legitimised by men
–
be they mortal or otherwise. This theme will also recur in
the discussion of Persephone and Helen. Although Pandora may not be the actual
‘daughter’ of any one god, she –

the “molded woman”

–
has been touched, in
her creation, by many. As with the deceitful sacrifice of Prometheus, she appears
as a gift
to “set against the fire,” (Hesiod. Works and Days. West trans. 57).
though her function will prove to be very different.
Although Pandora may not b
e the actual ‘daughter’ of any one god, she –
the
“molded
woman”

–

has
been
touched,
in
her
creation,
by
many.
As
with
the
deceitful
sacrifice
of
Prometheus,
she
appears
as
a
gift
to
“set
against
the
fire,”
(Hesiod.
Works
and
Days.
West
trans.
57).
though
her
function
will
prove
to
be
very
different.
She is given as wife to Epimetheus (Afterthought), who has been expressly warned
by
his
brother
Prometheus
(Forethought)
not
to
accept
any
gifts
from
the
Olympians
“for fear it might prove to be an evil for mankind.” (Hesiod. Works and Days.
Lattimore trans. 88) In Works and Days, Pandora unstops a jar that she herself has
received
from
the
gods,
and
this
action
releases
“grim
cares”
(Hesiod.
Works
and
Days. West trans. 39. Cf. Lattimore trans.: “sad troubles.”) and henceforth
“countless troubles roam among men.” (Hesi
od. Works and Days. West trans. 100.
Cf. Lattimore trans.: “other troubles by thousands that hover about men.”). If
formerly the “tribes of men on earth lived remote from ills, without harsh toil
and
the
grievous
sicknesses
that
are
deadly
to
men,”
(Hesiod
.
Works
and
Days.
West
trans.
90-93)
the
double
hybris
of
Prometheus
concludes
such
an
era.
Hesiod
describes
it thus:


. when he [Zeus] had made the lovely evil to pay for good,
he led her where the other gods and men were;
. awe filled immortal gods and mortal
men when they saw the sheer trick, irresistible to men.
For from her is the race of female women,
[from her is the deadly race and tribes of women]
a great plague to mortals, dwelling with men.(Hesiod.
Theogony
. Caldwell trans.
585-93)

But Pandora functions as more than this. Although she may be directly responsible
for releasing misery upon her people, we must recall that she has been designed
expressly for this purpose. Moreover, her creation is the direct result of the
interaction between Zeus and Prometheus; arguably representative of the
intelligence exhibited by gods and mortals respectively. I have already referred
to
the
institution
by
Prometheus
of
the
sacrifice
ritual
and
his
theft
of
fire,
and
how
this
uniquely
positions
humans
vis-
à
-vis

the
gods.
In
her
analysis
of
the
myth,
Blundell argues that through incorporating into Pandora “elements of all three
levels
of
being
[bestial,
human
and
divine],
she
helps
to
determine
the
intermediate
status
of the human race, poised between
the go
ds and the beasts” (Blundell, 23).
But
in
highlighting
this
division
through
both
her
presence
and
her
actions,
Pandora
likewise operates to further emphasise the separation between realms.
The
arrival
of
Pandora
heralds
another
fundamental
change
for
humankind.
For
though
she (and thus all women) may operate as a “bane for mortal men . . . conspirators
in causing difficulty,” (Hesiod.
Theogony
. West trans. 600-1) the rejection of
womankind
leads
to
a
different
class
of
misfortune.
To
exist
entirely
without
women
will
leave
a
man
with
no
one
to
care
for
him
in
his
old
age,
and,
on
dying,
“distant
relatives share out his living” (Hesiod.
Theogony
. West trans. 606-7). By
implication, the closest a man may come to immortality is through the propagation
of his line. In avoiding women, he is doomed to the shortest kind of reknown and
remembrance. Pandora is indeed both a pawn and the final gift in this reciprocal
trickery. As Zeitlin argues, Pandora is
–
in all versions
–

“the outcome of a
game
of
wits
between
Prometheus
and
Zeus
that
revolves
around
a
series
of
deceptions
and
counter-
deceptions
in
connection
with
the
exchange
of
gifts”
(Zeitlin,
58
-74.
59).
She
is
formed
in
order
to
serve
as
bride,
and
as
explicitly
stated
in
both
the
Theogony
and
Works and Days
, also as wife and mother. Regardless of whether a man
embraces or rejects this bequest of Zeus, it is impossible for there to be no
repercussion. Thus in the creation of Pandora, and womankind with her, a new age
commences. As will be discussed below, this will ultimately bring with it the
cessation of intercourse between gods and mortals.
The three mythological figures of Pandora, Persephone and Helen present us with
important
perspectives
on
the
role
that
women
play
–

if
not
in
Ancient
Greek
society
itself
–

then
in
the
archaic
literature
we
have
inherited
from
that
society.
Indeed,
the function of each woman becomes apparent only through her interaction with,
firstly,
those
from
whom
she
originates
and
her
separation
from
them,
and
secondly,
her selected husband and her integration into his community. Thus the daughters
of gods
–
as opposed to sons, such as Herakles and Akhilleus, who often embody a
form of hyper- masculinity
–
may appear as reference points for the place which
mortal
women
ought
to
occupy.
Each
of
these
examples
raises
a
multitude
of
questions,
but
this
exemplifies
the
problems
inherent
in
attempting
to
categorise
women
in
Greek
myth, who have a tendency to appear as elusive as the three discussed above. One
way we may approach them is as ciphers through which to view ancient Greek women
as they
were
perceived and as they may have perceived themselves. We
must remember
that in such a dynamic mythology it is impossible that women were not affected by
the
telling
of
such
stories
and
vice
versa

–

for
these
myths
existed
likewise
through
the impact real women had on their telling.
But
she's
not
the
first
mortal
woman
and
I
don't
want
to
delve
into
the
Greek
creation
myths
right
now
to
find
out
who
that
particular
woman
was.
I
don't
think
a
specific
name
was
mentioned.
In
any
case,
the
race
of
man
was
created
by
the
Titan
Prometheus
out of lumps of clay. In order to better their chances of survival, he stole fire
from the gods. This story is timeless, it's a rebellion against some feudal lord
all over again.

Of course, being the overlord furious at the thought that something that only his
people
had
the
right
to
have
was
being
used
to
warm
the
hearths
of
little
clay
people,
Zeus
bound
Prometheus
to
a
mountain
and
had
vultures
eat
his
liver
out
for
eternity.
Boy, their punishments were incredibly creative those days.

Zeus
wasn't
satisfied
but
because
he
didn't
want
to
seem
petty,
and
probably
because
picking
a
fight
with
the
little
clay
people
(that's
us)
was
undignified
and
so
very
not godly, he had to have a more subtle revenge. He had his minions craft a woman.
The
first
woman
to
be
created
by
the
gods
and
given
a
name
in
Greek
mythology:
Pandora.

They gifted her with all sorts of beauty and cunning - everything she would need
for seduction in short - and sent her to wed Epimetheus, the bibbling dolt who was
Prometheus'
brother.
Her
mission:
to
bring
suffering
to
the
whole
of
mankind.
Mata
Hari had nothing on her.

The gods gave her that now famous box as well. Of course they told her not to open
it,
THEN
gave
her
an
super
duper
extra
dose
of
curiosity.
She
was
dooomed
to
success.
Anyway,
she
probably
only
opened
the
box
because
her
gay
lunkhead
of
a
husband
didn't
have
enough
blood
in
him
to
excite
a
flea.
It's
another
Adam
and
Eve
story,
probably
the basis for that as well.
Semonides
concludes:

designed
woman
as
the
greatest
of
all
evils. She is a source of evil, especially to her husband, even
if she seems to be a help in some ways. No one manages to spend
a whole day in contentment if he has a wife... Yes, this is the
greatest plague Zeus has made, and he has bound us to them with
a fetter than cannot be broken. Because of

this, some have gone to Hades fighting for a woman.
Semonides
is here probably thinking of the adulterous Helen of Troy.
Can
literary
fragments
be
relied
on
to
portray
dominant
cultural
values?
If
so,
the
characteristic
ancient
Greek
outlook
on
women
can
be
found
in
two
quips
by
comic
playwrights.
Eubulus,
a
fourth
century Athenian, judging evil women to outnumber good ones
overwhelmingly, alludes to Pandora.
should be punished, but not the first [Epimetheus], who had no
experience of how awful a wife can be.
Eva Keuls, in her study
of sexual politics in ancient Athens, entitled
The Reign of the

18


16

Phallus,

selects
this
line
from
the
fifth
century
Pherecrates
to
illustrate the deep-seated misogyny:
of his wife is a fool who doesn't appreciate his good fortune.
19