Week EightAncient Greek The Iliad Line 1 - 30

http://www.youtube.com/watch?v=22mJXuQnYIg&feature=related

Iliad book 1, lines 1-84, original Greek

http://www.youtube.com/watch?v=r0V-YfqOQCc&feature=related

In English (about 800 words) or in Chinese ( 約 1500 字 )

Please copy the question you selected.

Deadline: 12:00 on 28 12:00 on 28 April, 2011April, 2011

1. How is the beauty of suffering demonstrated through literature (like in Old Testament, Greek mythology, or Homer’s Epics)?

2. Do you agree that “beauty is truth and truth is beauty?” Why? Or How do you perceive it?

3. How do you better understand yourself via reading classical works?

4. Is Greek mythology a perfect reflection of humanity? Why? How?

5. Do you think Achilles a great hero? Why or why not?

6. Is Job a perfect man? Why or why not?

7. What is the limitation of Greek gods? Do you think it ironic to set limits on gods? Why or why not?

古學家在希臘南部一處垃圾坑內，發現超過三千年前的泥板碑文，據信為已知歐洲最古老的文字。

碑文上刻的「線形文字Ｂ」，是比古希臘文更早的美錫尼人所使用的文字。美錫尼文化屬於青銅器時代文化，也是古希臘詩人荷馬在敘事史詩「伊里亞德」中所述特洛伊戰爭時期，及自公元前一千六百年起即盛行於希臘多數地區的文化。

http://www.youtube.com/watch?v=E8ER5kh92hQ

Zeus (Jupiter)/ Hera (Juno) / Demeter (Ceres) / Artemis (Diana)/ Aphrodite (Venus)/  Eros (Cupid)/ Hermes (Mercury) / Hephaistos

(Vulcan) / Poseidon (Neptune) / Apollo (Apollo) / Ares (Mars) / Athena (Minerva) / Hestia (Vesta) / Dionysus (Bacchus)/ Pan (Faunus)/ Heracles (Hercules) / Asclepius (Aesculapius) / Hades (Dis Pater) / Persephone

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Temple of Zeus (600 BCE), the largest Greek pantheon outside of Athens

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More about Greek Mythology~ 在諸神身上，你能看到自己的影子，你能感受到諸神的七情六欲都潛伏在內心的

某個不為人知的角落。 ~

HOMEREighth century

BCE

動人心弦的詩篇美麗的詩句真的可以對心臟傳達情意

Greek literature begins with two masterpieces, the IliadIliad and and OdysseyOdyssey, ,

which cannot be accurately dated cannot be accurately dated (the conjectural dates range over three centuries)

and which are attributed to the poet Homer, about whom nothing is known except his name.

The Greeks believed that he was blind, perhaps because the bard the bard Demodocus in the Demodocus in the Odyssey Odyssey was blind and seven different cities put forward claims to be his birthplace.

It was a blurred memory (Homer does not remember the

writing, for example, or the detailed bureaucratic accounting recorded on the tablets)

and this is easy to understand: some time in the last century of the

millennium the great palaces were the great palaces were destroyed by fire. destroyed by fire.

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With them disappeared not only the arts and skills that had created Mycenaean Mycenaean wealth wealth but even the system of writing.

For the next few hundred years the Greeks were illiterate were illiterate and so no written evidence survives for what, in view of our ignorance about so many aspects of it, we call the Dark Age of Dark Age of GreeceGreece.

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A detail of the restored Dolphin fresco on the wall of the Queen’s Room in the Queen’s Room in the Minoan palace at Knossos.the Minoan palace at Knossos.

The rosette pattern below the dolphins is typically Minoan and the whole fresco probably dates from the last phase of the New palace, around 1450-1400 BCEaround 1450-1400 BCE.

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The stories told in the Homeric poems are set in the age of the the Trojan WarTrojan War, which archeologists (those, that is, who believe that it happened at all) date to the twelfth twelfth century B.C. century B.C.

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Though the poems do preserve some faded memories of the Mycenaean the Mycenaean AgeAge, as we have them they probably are the creation of later centuries, the tenth to the eighth B.C., the so-called Dark Age that succeeded the collapse (or destruction) of Mycenaean civilization.

http://www.youtube.com/watch?v=ccdneMYVVVo

About 9 minutesAbout 9 minutes

The Iliad contains several accurate descriptions of accurate descriptions of natural features of the natural features of the Ionian landscapeIonian landscape, but his grasp of the geography of mainland, especially western, Greece is unsure.

• The two great epics that have made his name supreme among poets may have been fixed in something like their present form before the art of before the art of writing was in general use in writing was in general use in GreeceGreece;

• it is certain that they were intended not for reading but for oral recitation.

• The earliest stages of their composition date from around the around the beginnings of Greek literacy—the beginnings of Greek literacy—the late eighth century B.C.late eighth century B.C.

• The poems exhibit the unmistakable characteristics of oral composition.

Of course he could and did invent new phrases and scenes as he recited—but his base was the immense poetic reserve created by many generations of singers who lived before him.

When he told again for his hearers the old story of Achilles and his story of Achilles and his wrathwrath, he was recreating a traditional story that had been recited, with variations, additions, and improvements, by a long line of predecessors.

Sing, goddess, the rage of Achilles the son of Peleus,the destructive rage that sent countless ills on the

Achaeans...

伊里亞德是古希臘詩人荷馬的敘事史詩。是重要的古希臘文學作品，與《奧德賽》同為西方的經典之一。

根據有荷馬史詩人物圖像的花瓶生產時期、其他引用此詩的希臘詩歌撰寫日子推斷，本史詩應大約完成於公元前 750或 725 年。

《伊里亞德》這個書名，是「伊利昂城下的故事」的意思。

《伊里亞德》中幾個星期的活動。史詩以阿基里斯和阿伽門農的爭吵開始，以赫克托耳的葬禮結束，故事的背景和最終的結局都沒有直接敘述。

伊里亞德和奧德賽都只是更宏大的敘事詩傳統的一部份，此外還有許多不同長度不同作者的敘事詩作，只不過只有一些片斷流傳下來。

第一卷：紛爭、宣言及盟誓第二卷：閱軍及誓師第三卷：決鬥第四卷：引發戰爭的一箭

第五卷：跟神明一同戰鬥的英雄第六卷：城市和荒野之間第七卷：戰鬥和城牆

第八卷：由宙斯挑起的戰爭

依照希臘文版本，本史詩共有二十四卷。以非詩歌形式翻譯的文本一般都不會依照原卷數來分章節。以下是每卷題目一覽：

第十卷：戰營中的一夜──一個任務第十一卷：希臘人的的強大和受傷第十二卷：開啟城牆第十三卷：攻船戰第十四卷：神之山的哄騙第十五卷：風暴之神第十六卷：形勢逆轉

第十七卷：爭奪死去戰士的裝備第十八卷：不死神的盾第十九卷：復仇者第二十卷：力量的差異第二十一卷：人河之爭第二十二卷：特洛伊前的失落第二十三卷：摯友之死第二十四卷：傷痛中所得的神寵

由於當時的文字系統未發展成熟，而且相信荷馬是向不識字的平民表演，所以詩中用了不少吟唱技巧。例如，他用了許多重覆的字句，而經過後人的潤飾，漸漸形成「荷馬式風格」。一些經典場景和動作也會以相似的文字來描述，但是在非希臘文的譯本，譯者為了避免單調而會選用不同的字詞來形容那些場景，沒保留這一吟唱詩的特色。

Agamemnon — King of Mycenae; leader of the Greeks.

Achilles — King of the Myrmidons.

Odysseus— King of Ithaca; the wiliest Greek commander, and hero of the Odyssey.

Menelaus— King of Sparta; husband of Helen.

Aias (Ajax the Greater) — son of Telamon, with Diomedes, he is second to Achilles in martial prowess.

Aias (Ajax the Lesser) — son of Oileus, often partner of Ajax the Greater.

Diomedes— son of Tydeus, King of Argos.

Priam — the aged King of Troy. Hector — son of King Priam; the

foremost Trojan warrior. Paris — Helen’s lover-abductor. Agenor — a Trojan warrior who

attempts to fight Achilles (Book XXI). Dolon—a spy upon the Greek camp

(Book X). Antenor — King Priam’s advisor, who

argues for returning Helen to end the war; Paris refuses.

Aeneas — son of Anchises and Aphrodite.

Deiphobus — brother of Hector and Paris.

Polydorus — son of Priam and Laothoe.

Hecuba— Priam’s wife; mother of Hector, Cassandra, Paris, and others.

Helen— Menelaus’s wife; espoused first to Paris, then to Deiphobus.

Andromache— Hector’s wife; mother of Astyanax

CassandraCassandra— Priam’s daughter; courted by Apollo, who bestows the gift of prophecy to her; upon her rejection, he curses her, and her warnings of Trojan doom go unheeded.

http://www.youtube.com/watch?v=fFs6vaMBHf8&feature=related

About 4 minutes

In Greek mythology, Cassandra was the daughter of King Priam and Queen Hecuba of Troy.

Her beauty caused Apollo to grant her the gift of prophecy.

However, when she did not return his love, Apollo placed a curse on her so that no one would ever believe her predictions.

Painting by Evelyn De Morgan.

The Cassandra metaphor (variously labelled the Cassandra 'syndrome', 'complex', 'phenomenon', 'predicament', 'dilemma', or 'curse'), is a term applied in situations in which valid warnings or concerns are dismissed or disbelieved.

occurs seven times in the poem (II.155, II.251, IX.413, IX.434, IX.622, X.509, XVI.82);

thematically, the concept of homecoming is much explored in Ancient Greek literature, especially in the post-war homeward fortunes experienced by Atreidae, Agamemnon, and Odysseus (see the Odyssey), thus, nostos is impossible without sacking Troy — King Agamemnon’s motive for winning, at any cost.

For my mother Thetis the goddess of silver feet tells meI carry two sorts of destiny toward the day of my death. Either,if I stay here and fight beside the city of the Trojans,my return home is gone, but my glory shall be everlasting;but if I return home to the beloved land of my fathers,the excellence of my glory is gone, but there will be a long lifeleft for me, and my end in death will not come to me quickly.

the concept denoting the respectability an honorable man accrues with accomplishment (cultural, political, martial), per his station in life.

In Book I, the Greek troubles begin with King Agamemnon’s dishonorable, unkingly Agamemnon’s dishonorable, unkingly behavior behavior — first, by threatening the priest Chryses (1.11), then, by aggravating them in disrespecting Achilles, by confiscating Bryseis from him (1.171).

The warrior’s consequent rancor against the dishonorable king ruins the Greek military cause.

is the concept of glory earned in heroic battle; for most of the Greek invaders of Troy,

notably Odysseus, kleos is earned in a victorious nostos (homecoming), yet not for Achilles, he must choose one reward, either nostos or kleos.

In Book IX (IX.410–16), he poignantly tells Agamemnon’s envoys—Odysseus, Phoenix, Ajax— begging his reinstatement to battle about having to choose between two fates (9.411).

Fame imperishable

After that, only Athena stays Achilles' wrath.

He vows to never again to obey orders from Agamemnon.

Furious, Achilles cries to his mother, Thetis, who persuades Zeus’s divine intervention — favouring the Trojans—until Achilles' rights are restored.

Meanwhile, Hector leads the Trojans to almost pushing the Greeks back to the sea (Book XII);

later, Agamemnon contemplates defeat and retreat to Greece (Book XIV).

Again, the Wrath of Achilles turns the war’s tide in seeking vengeance when Hector kills Patroclus.

Aggrieved, Achilles tears his hair and dirties his face; Thetis comforts her mourning son …

propels most of the events of the Iliad. Once set, gods and men abide it,

neither truly able nor willing to contest it.

How fate is set is unknown, but it is told by the Fates and Seers such as Calchas.

Men and their gods continually speak of heroic acceptance and cowardly avoidance of one’s slated fate.

Fate implies the primeval, tripartite division of the world that Zeus, Poseidon, and Hades effected in deposing their father, Cronus, for its dominion.

Zeus took the Air and the Sky, Poseidon the Waters, and Hades the Underworld, the land of the dead — yet, they share dominion of the Earth.

Despite the earthly powers of the Olympic gods, only the Three Fates set the destiny of Man.

The Moirae, as depicted in a 16th century tapestry

Clotho ("spinner") spun the thread of life from her distaff onto her spindle.

Lachesis ("allotter" or drawer of lots) measured the thread of life allotted to each person with her measuring rod.

Atropos ("inexorable" or "inevitable", literally "unturning.” sometimes called Aisa) was the cutter of the thread of life. She chose the manner of each person's death; Her Roman equivalent was Morta ('Death').

Divinely-aided, Aeneas escapes the wrath of Achilles and survives the Trojan War.

Whether or not the gods can alter fate, they do abide it, despite its countering their human allegiances, thus, the mysterious origin of fate is a power beyond the gods.

Trojans and Greeks, illustration from the Vergilius Romanus

Book 1: After nine years of the Trojan War, King Agamemnon seizes Briseis, Achilles’s war-concubine, for having relinquished Chryseis; dishonoured, Achilles wrathfully withdraws; the gods argue the War’s outcome.

Book 2: Testing Greek resolve, Agamemnon feigns a homeward order; Odysseus encourages the Greeks to pursue the fight; see the “Catalogue of Ships” and the “Catalogue of Trojans and Allies”.

Of the two poems the Iliad is perhaps the earlier.

Its subject is warIts subject is war; its characters are men in battle and

women whose fate depends on the outcome.

The war is fought by the Achaeans the Achaeans against the Trojans for the recovery for the recovery of Helenof Helen, the wife of the Achaean chieftain MenelausMenelaus;

the combatants are heroes who in their chariots engage in individual duels before the supporting lines of infantry and archers.infantry and archers.

The great champion of the Trojans, Hector,Hector, fights bravely, but reluctantly.

War, for him, is a necessary evila necessary evil, and he thinks nostalgically of the nostalgically of the peaceful pastpeaceful past, though he has little hope of peace to come.

Achilles slays Hector

We see Hector, as we do not see Achilles, against the background of the patterns of civilized life—the rich civilized life—the rich city with its temples and city with its temples and palaces, the continuity of the palaces, the continuity of the familyfamily.

The duel between these two men is the inevitable crisis of the poem, and just as inevitable is Hector’s defeat and death.

At the climactic moment of climactic moment of Hector’s deathHector’s death, as everywhere in the poem, Homer’s firm control of his material preserves the preserves the balance balance in which our contrary emotions are held;

pity for Hector pity for Hector does not entirely rob us of sympathy for Achillessympathy for Achilles.

This tragic action is the center of the poem, but it is surrounded by scenes that remind us that the organized the organized destruction of wardestruction of war, though an integral part of human lifeintegral part of human life, is still only a part of it.

The yearning for peace and its creative possibilities is never far below the surface.

These two poles of the human condition—war and peace, with their corresponding aspects of human nature, the destructive and the creative—are implicit in every situation and statement of the poem, and they are put before us, in symbolic form, in the shield that the god Hephaestus makes for Achilles, with its scenes of human life in both peace and war.

Whether these two sides of life can ever be integrated, or even reconciled, is a question that the Iliad raises but cannot answer.

a Greek god whose Roman equivalent was Vulcan.

He was the god of technology, He was the god of technology, blacksmiths, craftsmen, artisans, blacksmiths, craftsmen, artisans, sculptors, metals, metallurgy, fire and sculptors, metals, metallurgy, fire and volcanoes. volcanoes.

Hephaestus was lame, which gave him a grotesque appearance in Greek eyes.

He served as the blacksmith of the gods, and he was worshipped in the manufacturing and industrial centers of Greece, particularly in Athens. The center of his cult was in The center of his cult was in LemnosLemnos.

Mentor  was an old friend of Odysseus. To him Odysseus entrusted his household when he joined the coalition that sailed against Troy.

Athena, assuming several times the shape of Mentor , became the guide of Odysseus' son Telemachus, giving him prudent counsel. Since then, wise and trusted advisers have been called "mentors".

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普羅米修斯是一個為了人類而從奧林帕斯山山上偷走火的泰坦巨人，因而遭到宙斯給予他極為可怕的懲罰。他是艾爾佩提斯的兒子；亞特拉斯和艾皮米修斯的兄弟。 " 普羅米修斯（ Prometheus ） " 在希臘語中是 " 遠見（ foresight ） " 的意思。

普羅米修士與智慧女神雅典娜共同創造了人類，並教會了人類很多知識。

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當時 Zeus禁止人類用火，他看到人類生活的困苦，幫人類從奧林匹斯偷取了火，因此觸怒宙斯。

宙斯將他鎖在高加索山的懸崖上，每天派一隻鷹去吃他的肝，又讓他的肝每天重新長上，使他日日承受被惡鷹啄食肝臟的痛苦。然而普羅米修士始終堅毅不屈。幾千年後，赫剌克勒斯為尋找金蘋果來到懸崖邊，把惡鷹射死，並讓半人半馬的肯陶洛斯族的喀戎來代替，解救了普羅米修士。

但他必須永遠戴一隻鐵環，環上鑲上一塊高加索山上的石子，以便宙斯可以自豪地宣稱他的仇敵仍然被鎖在高加索山的懸崖上。

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PROMETHEUS & THE EAGLE

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Perseus, Theseus, Bellerophon Atlanta, Heracles, Meleager

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Some scholars believe that behind Heracles' complicated mythology there was probably a real man, perhaps a chieftain-vassal of the kingdom of Argos.

Some scholars suggest the story of Heracles is an allegory for the sun's yearly passage through the twelve constellations of the zodiac.

Others point to earlier myths from other cultures, showing the story of Heracles as a local adaptation of hero myths already well established. Traditionally, Heracles was the son of Zeus and Alcmene granddaughter of Perseus.

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He is portrayed as a sacrificier, mentioned as a founder of altars, and imagined as a voracious eater himself; it is in this role that he appears in comedy, while his tragic end provided much material for tragedy — Heracles is regarded by Thalia Papadopoulou as "a play of great significance in examination of other Euripidean dramas".

In art and literature Heracles was represented as an enormously strong man of moderate height; his characteristic weapon was the bow but frequently also the club. Vase paintings demonstrate the unparalleled popularity of Heracles, his fight with the lion being depicted many hundreds of times.

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相當於羅馬神話中的赫丘利（ Hercules ）。 宙斯底比斯（ Thebes ）國王之女 阿爾克墨涅之子，

半人半神的他自幼在名師的傳授下，學會了各種武藝和技能，能勇善戰，成為眾人皆知的大力士。

天后赫拉非常嫉妒，曾在海格力斯年幼時派了兩條毒蛇去毒殺他，伊克力斯一看到蛇哭起上來，但兩條蛇居然被嬰兒海格力斯活活捏死了，

後來在赫拉的詛咒下，海格力斯發瘋殺害了自己三個無辜的兒子，之後由於痛苦他再也不能與妻子 蜜格拉（ Megara ）相處，

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為了贖罪他不得不替邁錫尼（ Mycenae ）國王 歐律斯透斯 Eurystheus ）服役十幾年。海格力斯拒絕了惡德女神要他走享樂道路的誘惑，而聽從了美德女神的忠告，決心在逆境中不畏艱險，為民除害造福。

他在十二年中完成了十二項英勇業績，另外人馬 涅索斯（ Nessus ），他在希臘神話中是企圖調戲海格力斯後來的妻子 伊阿尼拉（ Deianira ），被海格力斯射殺。

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臨死時，涅索斯叫伊阿尼拉把自己的血藏好，若海格力斯不受管束或另結他歡時，把染血的緊身衣給海格力斯穿上就會讓他回心轉意，重回伊阿尼拉的懷抱。伊阿尼拉信以為真，誰知涅索斯的血有毒，海格力斯被毒死後升天成為神。 他神勇無比，完成了十二項英雄偉績，被升為武仙座。

此外他還參加了阿耳戈船英雄的遠征幫助伊阿宋覓取金羊毛，解救了普羅米修斯等。有關他英勇無畏，敢於鬥爭的神話故事，歷來都是文藝家們樂於表現的主題。在現代語中「海格力斯」一詞已經成為了「大力士」的同義詞。

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Bridging the age when gods lived alone and the age when divine interference in human affairs was limited was a transitional age in which gods and mortals moved together.

These were the early days of the world when the groups mingled more freely than they did later.

Most of these tales were later told by Ovid's Metamorphoses and they are often divided into two thematic groups: tales of love, and tales of punishment.

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The thirty-three anonymous Homeric Hymns celebrating individual gods are a collection of ancient Greek hymns, "Homeric" in the sense that they employ the same epic meter— dactylic hexameter— as the Iliad and Odyssey, use many similar formulas and are couched in the same dialect.

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They were uncritically attributed to Homer himself in Antiquity—from the earliest written reference to them, Thucydides (iii.104)—and the label has stuck. "the whole collection, as a collection, is Homeric in the only useful sense that can be put upon the word;" A. W. Verrall noted in 1894, "that is to say, it has come down labeled as 'Homer' from the earliest times of Greek book-literature."

http://www.theoi.com/Text/HomericHymns1.html

XVI. TO ASCLEPIUS [1] [1] I begin to sing of Asclepius, son of Apollo and healer of sicknesses. In the Dotian plain fair Coronis, daughter of King Phlegyas, bare him, a great joy to men, a soother of cruel pangs. And so hail to you, lord: in my song I make my prayer to thee!

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http://www.youtube.com/watch?v=tKx7ig5PAiA

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But Homer is not our only source for Greek mythological thought. HesiodHesiod, Homer’s rough contemporary, provided a mythological cosmogony in his TheogonyTheogony:

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The gods and humans shared a common history.

This was a world of anthropomorphic deities interfering in human affairs, using humans as pawns in their own plots and intrigues—acting out of spite, anger, love, lust, benevolence, pleasure, or simple caprice. The gods were also implicated in natural phenomena.

Sun and moon were conceived as deities, offspring of Theia and Huperion.

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Storms, lightning bolts, winds, and earthquakes were not regarded as inevitable outcomes of impersonal, natural forces, but mighty feats willed by the gods.

The result was a capricious worlda capricious world, in which nothing could be safely predicted because of the boundless boundless possibilities of divine interventionpossibilities of divine intervention.

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Homer and HesiodHomer and Hesiod, after all, are among the few sources at our disposal that reveal anything of archaic Greek archaic Greek thoughtthought;

and if they do not represent primitive Greek philosophy, they were nonetheless central to Greek education and culture for centuries and cannot have been without influence on the Greek mind.

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Early in the sixth century, Greek culture experienced a burst of a radically new kind of discourse—speculation discourse—speculation unprecedented in its rationality unprecedented in its rationality (nous in Greek), its concern for evidence, and its acknowledgment that claims were open to dispute and needed to be defended.

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Speculations ranged over a broad subject matter, including the cosmos and its origins, the earth and its inhabitants, celestial bodies, striking phenomena such as earthquakes, thunder, and lightning, disease and death, and the nature of human knowledge.

This burst of intellectual activity of intellectual activity were distributed geographically distributed geographically over an area that extended well beyond the boundaries of the modern Greek state.

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Whereas Hesiod regarded earth and sky as divine offspring, for the philosophers Leucippus (fl. 435) and Democritus (fl. 410) the world and its various parts result form mechanical sorting of lifeless atoms in a primeval vortex or whirlpool.

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As late as the fifth century, the the historian Herodotushistorian Herodotus retained much of the old mythology, sprinkling tales of divine intervention through his Histories.

Poseidon, by his account, used a high tide to flood a swamp the Persians were crossing.

And Herodotus regarded and eclipse that coincided with the departure of the Persian arm for Greece as a supernatural omen.

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The world of the philosophers, in short, was an orderly, predictable world in which things behave according to their natures.

The Greek term used to denote this denote this ordered world was Kosmosordered world was Kosmos, form which we draw our word “cosmology.”

The capricious world of divine intervention was being pushed aside, making room for order and regularity; chaos was yielding to Kosmos.

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A clear distinction between the natural and the supernatural was emerging; and there was wide agreement that causes (if they are to be dealt with philosophically) must be sought only in the natures of thing.

The philosophers who introduced The philosophers who introduced these new ways of thinking were these new ways of thinking were called by Aristotle called by Aristotle physikoiphysikoi or or physiologoiphysiologoi, from their concern , from their concern with with physis physis or nature.or nature.

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a poem by Hesiod describing the origins and genealogies of the gods of the ancient Greeks, composed circa 700 BC.

a large-scale synthesis of a vast variety of local Greek traditions concerning the gods, organized as a narrative that tells about the origin of the cosmos and about the gods that shaped cosmos.

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that Chaos arose spontaneously. Chaos gives birth to Eros and Gaia

(Earth), the more orderly and safe foundation that would serve as a home for the gods and mortals, came afterwards.

Tartarus (both a place below the earth as well as a deity) and Eros (Desire) also came into existence from nothing.

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Eros serves an important role in sexual reproduction, before which children had to be produced by means of parthenogenesis.

From Chaos came Erebos (Darkness) and Nyx (Night).

Erebos and Nyx reproduced to make Aither (Brightness) and Hemera (Day).

From Gaia came Ouranos (Sky), the Ourea (Mountains), and Pontus (Sea).

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Ouranos mated with Gaia to create twelve Titans:

OceanosOceanos, Coeus, Crius, Hyperion, Iapetos, Theia, Rhea, Themis, , MnemosyneMnemosyne, Phoebe, Tethys, and KronosKronos;

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Pandora ("giver of all, all-endowed") was the first woman.

As Hesiod related it, each god helped create her by giving her unique gifts.

火神赫淮斯托斯或宙斯用粘土做成的地上的第一個女人，作為對普羅米修士盜火的懲罰送給人類的第一個女人

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眾神亦加入使她擁有更誘人的魅力。根據大英博物館所藏的一隻白底基里克基里克斯杯斯杯（古希臘一種雙耳淺口的大酒杯），潘朵拉的另一名字是「安妮斯朵拉」（ Anesidora ），意思為「送上禮物的她」。根據神話，潘朵拉打開一個「盒子」

（應作罈子，希臘文原作πίθος ， πίθοι ，英語：）。

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而現時當提到「 Pandora’s Box」，通常是指潘朵拉出於好奇而打開了盒子，釋放出人世間的所有邪惡——貪婪、虛無、誹謗、嫉妒、痛苦——當她再蓋上盒子時，只剩下希望在裡面。

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潘朵拉的神話源遠流長，以不同的版本出現，並從不同的角度詮釋。然而，在所有的文學版本，此神話作為自然神學自然神學以解釋世界上罪惡的存在。

在西元前 7世紀， Hesiod 在他的 TheogonyTheogony（第 570行，大概提及而並無完全指出潘朵拉的名字）及《工作與時日》（ Works and Days ）是最早有關潘朵拉故事的文學著作。

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Study Guide for Hesiod's Theogonyhttp://www.temple.edu/classics/

Theogony-guide.html

工作與時日 工作與時日 : : 神譜神譜長庚大學 三樓中文書區 長庚大學 三樓中文書區 871.31 8775 88871.31 8775 88

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http://wl2009.wordpress.com/2009/10/04/timeline-of-world-

mythology/

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