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Mouseion, Series III. Vol. 4 (2004) 107-119 ©2004 Mouseion HOPE IN A JAR 1 LIZ WARMAN The significance of the EATTic in the TT180c of Hesiod's Pandora story has been the subject of protracted and inconclusive scholarly debate. The Pandora narrative as a whole has often been thought deficient in coherence. West, editor of the standard text of the Works and Days,2 finds two stories inadequately blended, the first in which Pandora herself is the evil promised as punishment for the theft of fire, the second in which the jar is the source of all evils. He calls the final product"an unusually clear instance of the way narrative inconsistencies arise as old stories are retold. "3 Nagy. on the other hand, finds the Works and Days to be characterized by "cohesiveness and precision," and calls for "rigorous internal analysis"4 on the part of Hesiod's readers to demonstrate that coherence. I believe that such an analysis should at least be attempted before West's judgement against Hesiod's mastery of his material is accepted. I will argue for a general definition of EAlTic as emotion-tinged uncertainty about the future. and discuss possible translations of EAlTlc as well as Greek authors' evaluations of it. I will then follow the path taken by Vernant,5 whose reading of the Pandora story has been lauded as "completely persuasive."6 While I subscribe in the main to Vernant's interpretation and offer support for several of his conclusions, I will sometimes diverge from him and offer correctives to certain of his , This title is borrowed from Charles Revson, founder of Revlon, who himself unwittingly borrowed Hesiod's image of delusive promise when he called his cosmetics "hope in a jar" (Peiss [r998] 200). 2 West (1978) is the text cited throughout this essay. unless otherwise noted. 3 West (lg66) 307. The second-century A.D. version of the story found in Babrius (58) is held up by many as a model of coherence. In it, a man with no self-control opens a jar full of good things given to men by Zeus. Most of the goods fly out and are lost. Only EAnle remains in the jar. The inference is obvious: good hope is preserved to help men face a dreadful world. With admiration for Babrius' lucidity goes the conviction that his story "more closely reflects the original sense of the myth than does the version forced upon posterity by Hesiod" (Panofsky [1956] 6; d. Cow [r914] 106; Rudhardt [1986]235)· 4 Nagy (19go) 80. 82. 5 Vernant (lg81). id. (1989). 6 Clay (2003) 10 1. 107
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Mouseion, Series III. Vol. 4 (2004) 107-119<br />
©2004 Mouseion<br />
HOPE IN A JAR 1<br />
LIZ WARMAN<br />
The significance of the EATTic in the TT180c of Hesiod's Pandora story has<br />
been the subject of protracted and inconclusive scholarly debate. The<br />
Pandora narrative as a whole has often been thought deficient in coherence.<br />
West, editor of the standard text of the Works and Days,2 finds<br />
two stories inadequately blended, the first in which Pandora herself is<br />
the evil promised as punishment for the theft of fire, the second in<br />
which the jar is the source of all evils. He calls the final product"an unusually<br />
clear instance of the way narrative inconsistencies arise as old<br />
stories are retold. "3 Nagy. on the other hand, finds the Works and Days<br />
to be characterized by "cohesiveness and precision," and calls for "rigorous<br />
internal analysis"4 on the part of Hesiod's readers to demonstrate<br />
that coherence. I believe that such an analysis should at least be attempted<br />
before West's judgement against Hesiod's mastery of his material<br />
is accepted.<br />
I will argue for a general definition of EAlTic as emotion-tinged uncertainty<br />
about the future. and discuss possible translations of EAlTlc as<br />
well as Greek authors' evaluations of it. I will then follow the path taken<br />
by Vernant,5 whose reading of the Pandora story has been lauded as<br />
"completely persuasive."6 While I subscribe in the main to Vernant's<br />
interpretation and offer support for several of his conclusions, I will<br />
sometimes diverge from him and offer correctives to certain of his<br />
, This title is borrowed from Charles Revson, founder of Revlon, who himself<br />
unwittingly borrowed Hesiod's image of delusive promise when he called<br />
his cosmetics "hope in a jar" (Peiss [r998] 200).<br />
2 West (1978) is the text cited throughout this essay. unless otherwise noted.<br />
3 West (lg66) 307. The second-century A.D. version of the story found in<br />
Babrius (58) is held up by many as a model of coherence. In it, a man with no<br />
self-control opens a jar full of good things given to men by Zeus. Most of the<br />
goods fly out and are lost. Only EAnle remains in the jar. The inference is obvious:<br />
good hope is preserved to help men face a dreadful world. With admiration<br />
for Babrius' lucidity goes the conviction that his story "more closely reflects<br />
the original sense of the myth than does the version forced upon posterity<br />
by Hesiod" (Panofsky [1956] 6; d. Cow [r914] 106; Rudhardt [1986]235)·<br />
4 Nagy (19go) 80. 82.<br />
5 Vernant (lg81). id. (1989).<br />
6 Clay (2003) 10 1.<br />
107