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Thursday, June 8, 2023

Pandora

From Wikipedia, the free encyclopedia
Pandora by John William Waterhouse, 1896

In Greek mythology, Pandora (Greek: Πανδώρα, derived from πᾶν, pān, i.e. "all" and δῶρον, dōron, i.e. "gift", thus "the all-endowed", "all-gifted" or "all-giving") was the first human woman created by Hephaestus on the instructions of Zeus. As Hesiod related it, each god cooperated by giving her unique gifts. Her other name—inscribed against her figure on a white-ground kylix in the British Museum—is Anesidora (Ancient Greek: Ἀνησιδώρα), "she who sends up gifts" (up implying "from below" within the earth).

The Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world, according to which, Pandora opened a jar (pithos) (commonly referred to as "Pandora's box") releasing all the evils of humanity. It has been argued that Hesiod's interpretation of Pandora's story went on to influence both Jewish and Christian theology and so perpetuated her bad reputation into the Renaissance. Later poets, dramatists, painters and sculptors made her their subject.

Hesiod

Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story.

Theogony

The Pandora myth first appeared in lines 560–612 of Hesiod's poem in epic meter, the Theogony (c. 8th–7th centuries BC), without ever giving the woman a name. After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the human race. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works and Days. When she first appears before gods and mortals, "wonder seized them" as they looked upon her. But she was "sheer guile, not to be withstood by men." Hesiod elaborates (590–93):

For from her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth.

Hesiod goes on to lament that men who try to avoid the evil of women by avoiding marriage will fare no better (604–7):

[He] reaches deadly old age without anyone to tend his years, and though he at least has no lack of livelihood while he lives, yet, when he is dead, his kinsfolk divide his possessions amongst them.

Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends with good."

Works and Days

Pandora holding a pithos, with Hermes, and a seated Prometheus, Prometheus, Mercury, and Pandora, 1814, by Josef Abel

The more famous version of the Pandora myth comes from another of Hesiod's poems, Works and Days. In this version of the myth (lines 60–105), Hesiod expands upon her origin and moreover widens the scope of the misery she inflicts on humanity. As before, she is created by Hephaestus, but now more gods contribute to her completion (63–82): Athena taught her needlework and weaving (63–4); Aphrodite "shed grace upon her head and cruel longing and cares that weary the limbs" (65–6); Hermes gave her "a shameless mind and a deceitful nature" (67–8); Hermes also gave her the power of speech, putting in her "lies and crafty words" (77–80); Athena then clothed her (72); next Persuasion and the Charites adorned her with necklaces and other finery (72–4); the Horae adorned her with a garland crown (75). Finally, Hermes gives this woman a name: "Pandora [i.e. "All-Gift"], because all they who dwelt on Olympus gave each a gift, a plague to men who eat bread" (81–2).

In this retelling of her story, Pandora's deceitful feminine nature becomes the least of humanity's worries. For she brings with her a jar (which, due to textual corruption in the sixteenth century, came to be called a box) containing "countless plagues" (100). Prometheus had (fearing further reprisals) warned his brother Epimetheus not to accept any gifts from Zeus. But Epimetheus did not listen; he accepted Pandora, who promptly scattered the contents of her jar. As a result, Hesiod tells us, the earth and sea are "full of evils" (101). One item, however, did not escape the jar (96–9):

Only Hope remained there in an unbreakable home within under the rim of the great jar, and did not fly out at the door; for ere that, the lid of the jar stopped her, by the will of Aegis-holding Zeus who gathers the clouds.

Hesiod does not say why hope (elpis) remained in the jar. Hesiod closes with a moral (105): there is "no way to escape the will of Zeus."

Hesiod also outlines how the end of man's Golden Age (an all-male society of immortals who were reverent to the gods, worked hard, and ate from abundant groves of fruit) was brought on by Prometheus. When he stole Fire from Mt. Olympus and gave it to mortal man, Zeus punished the technologically advanced society by creating a woman. Thus, Pandora was created and given the jar (mistranslated as 'box') which releases all evils upon man.

Archaic and Classic Greek literature seem to make little further mention of Pandora, but mythographers later filled in minor details or added postscripts to Hesiod's account. For example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text: Epimetheus married Pandora. They each add that the couple had a daughter, Pyrrha, who married Deucalion and survived the deluge with him. However, the Hesiodic Catalogue of Women, fragment #5, had made a "Pandora" one of the daughters of Deucalion, and the mother of Graecus by Zeus. In the 15th-century AD an attempt was made to conjoin pagan and scriptural narrative by the monk Annio da Viterbo, who claimed to have found an account by the ancient Chaldean historian Berossus in which "Pandora" was named as a daughter-in-law of Noah in the alternative Flood narrative.

Pithos into "box"

A pithos from Crete, c. 675 BC (Louvre Museum)

The mistranslation of pithos, a large storage jar, as "box" is usually attributed to the sixteenth century humanist Erasmus of Rotterdam when he translated Hesiod's tale of Pandora into Latin. Hesiod's pithos refers to a large storage jar, often half-buried in the ground, used for wine, oil or grain. It can also refer to a funerary jar. Erasmus, however, translated pithos into the Latin word pyxis, meaning "box". The phrase "Pandora's box" has endured ever since.

Difficulties of interpretation

Historic interpretations of the Pandora figure are rich enough to have offered Dora and Erwin Panofsky scope for monographic treatment. M. L. West writes that the story of Pandora and her jar is from a pre-Hesiodic myth, and that this explains the confusion and problems with Hesiod's version and its inconclusiveness. He writes that in earlier myths, Pandora was married to Prometheus, and cites the ancient Hesiodic Catalogue of Women as preserving this older tradition, and that the jar may have at one point contained only good things for humanity. He also writes that it may have been that Epimetheus and Pandora and their roles were transposed in the pre-Hesiodic myths, a "mythic inversion". He remarks that there is a curious correlation between Pandora being made out of earth in Hesiod's story, to what is in the Bibliotheca that Prometheus created man from water and earth. Hesiod's myth of Pandora's jar, then, could be an amalgam of many variant early myths.

The meaning of Pandora's name, according to the myth provided in Works and Days, is "all-gifted". However, according to others, Pandora more properly means "all-giving". Certain vase paintings dated to the 5th century BC likewise indicate that the pre-Hesiodic myth of the goddess Pandora endured for centuries after the time of Hesiod. An alternative name for Pandora attested on a white-ground kylix (ca. 460 BC) is Anesidora, which similarly means "she who sends up gifts." This vase painting clearly depicts Hephaestus and Athena putting the finishing touches on the first woman, as in the Theogony. Written above this figure (a convention in Greek vase painting) is the name Anesidora. More commonly, however, the epithet anesidora is applied to Gaea or Demeter. In view of such evidence, William E. Phipps has pointed out, "Classics scholars suggest that Hesiod reversed the meaning of the name of an earth goddess called Pandora (all-giving) or Anesidora (one-who-sends-up-gifts). Vase paintings and literary texts give evidence of Pandora as a mother earth figure who was worshipped by some Greeks. The main English commentary on Works and Days states that Hesiod shows no awareness [of this]."

Hermes carrying Pandora down from Mount Olympus, a medal based on a design by John Flaxman

Jane Ellen Harrison also turned to the repertory of vase-painters to shed light on aspects of myth that were left unaddressed or disguised in literature. On a fifth-century amphora in the Ashmolean Museum (her fig.71) the half-figure of Pandora emerges from the ground, her arms upraised in the epiphany gesture, to greet Epimetheus. A winged ker with a fillet hovers overhead: "Pandora rises from the earth; she is the Earth, giver of all gifts," Harrison observes. Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. A.H. Smith, however, noted that in Hesiod's account Athena and the Seasons brought wreaths of grass and spring flowers to Pandora, indicating that Hesiod was conscious of Pandora's original "all-giving" function. For Harrison, therefore, Hesiod's story provides "evidence of a shift from matriarchy to patriarchy in Greek culture. As the life-bringing goddess Pandora is eclipsed, the death-bringing human Pandora arises." Thus, Harrison concludes "in the patriarchal mythology of Hesiod her great figure is strangely changed and diminished. She is no longer Earth-Born, but the creature, the handiwork of Olympian Zeus." (Harrison 1922:284). Robert Graves, quoting Harrison, asserts of the Hesiodic episode that "Pandora is not a genuine myth, but an anti-feminist fable, probably of his own invention." H.J. Rose wrote that the myth of Pandora is decidedly more illiberal than that of epic in that it makes Pandora the origin of all of Man's woes with her being the exemplification of the bad wife.

The Hesiodic myth did not, however, completely obliterate the memory of the all-giving goddess Pandora. A scholium to line 971 of Aristophanes' The Birds mentions a cult "to Pandora, the earth, because she bestows all things necessary for life". And in fifth-century Athens, Pandora made a prominent appearance in what, at first, appears an unexpected context, in a marble relief or bronze appliqués as a frieze along the base of the Athena Parthenos, the culminating experience on the Acropolis. Jeffrey M. Hurwit has interpreted her presence there as an "anti-Athena." Both were motherless, and reinforced via opposite means the civic ideologies of patriarchy and the "highly gendered social and political realities of fifth-century Athens"—Athena by rising above her sex to defend it, and Pandora by embodying the need for it. Meanwhile, Pausanias (i.24.7) merely noted the subject and moved on.

Artistic representations

Hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of "Pandora" in the painting by John D. Batten, The Creation of Pandora, 1913, tempera on fresco, 128 x 168cm, Reading University

Images of Pandora began to appear on Greek pottery as early as the 5th century BC, although identification of the scene represented is sometimes ambiguous. An independent tradition that does not square with any of the Classical literary sources is in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself." Sometimes, but not always, she is labeled Pandora. In some cases the figure of Pandora emerging from the earth is surrounded by figures carrying hammers in what has been suggested as a scene from a satyr play by Sophocles, Pandora, or The Hammerers, of which only fragments remain. But there have also been alternative interpretations of such scenes.

In the late Pre-Raphaelite painting by John D. Batten, hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of "Pandora". There were also earlier English paintings of the newly created Pandora as surrounded by the heavenly gods presenting gifts, a scene also depicted on ancient Greek pottery. In one case it was part of a decorative scheme painted on the ceiling at Petworth House by Louis Laguerre in about 1720. William Etty's Pandora Crowned by the Seasons of a century later is similarly presented as an apotheosis taking place among the clouds.

In between these two had come James Barry's huge Birth of Pandora, on which he laboured for over a decade at the turn of the nineteenth century. Well before that he was working on the design, which was intended to reflect his theoretical writings on the interdependence between history painting and the way it should reflect the ideal state. An early drawing, only preserved now in the print made of it by Luigi Schiavonetti, follows the account of Hesiod and shows Pandora being adorned by the Graces and the Hours while the gods look on. Its ideological purpose, however, was to demonstrate an equal society unified by the harmonious function of those within it. But in the actual painting which followed much later, a subordinated Pandora is surrounded by gift-bearing gods and Minerva stands near her, demonstrating the feminine arts proper to her passive role. The shift is back to the culture of blame whenever she steps outside it.

In the individual representations of Pandora that were to follow, her idealisation is as a dangerous type of beauty, generally naked or semi-naked. She is only differentiated from other paintings or statues of such females by being given the attribute of a jar or, increasingly in the 19th century, a straight-sided box. As well as the many European paintings of her from this period, there are examples in sculptures by Henri-Joseph Ruxthiel (1819), John Gibson (1856), Pierre Loison (1861, see above) and Chauncy Bradley Ives (1871).

Pandora's relationship to Eve

Jean Cousin, painting on panel, Eva Prima Pandora (Eve the first Pandora), 1550

There is an additional reason why Pandora should appear nude, in that it was a theological commonplace going back to the early Church Fathers that the Classical myth of Pandora made her a type of Eve. Each is the first woman in the world; and each is a central character in a story of transition from an original state of plenty and ease to one of suffering and death, a transition which is brought about as a punishment for transgression of divine law.

It has been argued that it was as a result of the Hellenisation of Western Asia that the misogyny in Hesiod's account of Pandora began openly to influence both Jewish and then Christian interpretations of scripture. The doctrinal bias against women so initiated then continued into Renaissance times. Bishop Jean Olivier's long Latin poem Pandora drew on the Classical account as well as the Biblical to demonstrate that woman is the means of drawing men to sin. Originally appearing in 1541 and republished thereafter, it was soon followed by two separate French translations in 1542 and 1548. At the same period appeared a 5-act tragedy by the Protestant theologian Leonhard Culmann (1498-1568) titled Ein schön weltlich Spiel von der schönen Pandora (1544), similarly drawing on Hesiod in order to teach conventional Christian morality.

The equation of the two also occurs in the 1550 allegorical painting by Jean Cousin the Elder, Eva Prima Pandora (Eve the first Pandora), in which a naked woman reclines in a grotto. Her right elbow rests on a skull, indicating the bringing of death, and she holds an apple branch in that hand – both attributes of Eve. Her left arm is wreathed by a snake (another reference to the temptation of Eve) and that hand rests on an unstopped jar, Pandora's attribute. Above hangs the sign from which the painting gains its name and beneath it is a closed jar, perhaps the counterpart of the other in Olympus, containing blessings.

Nicolas Régnier: Allegory of Vanity—Pandora, c. 1626

In Juan de Horozco's Spanish emblem book, Emblemas morales (1589), a motive is given for Pandora's action. Accompanying an illustration of her opening the lid of an urn from which demons and angels emerge is a commentary that condemns "female curiosity and the desire to learn by which the very first woman was deceived". In the succeeding century that desire to learn was equated with the female demand to share the male prerogative of education. In Nicolas Regnier's painting "The Allegory of Vanity" (1626), subtitled "Pandora", it is typified by her curiosity about the contents of the urn that she has just unstopped and is compared to the other attributes of vanity surrounding her (fine clothes, jewellery, a pot of gold coins). Again, Pietro Paolini's lively Pandora of about 1632 seems more aware of the effect that her pearls and fashionable headgear is making than of the evils escaping from the jar she holds. There is a social message carried by these paintings too, for education, no less than expensive adornment, is only available to those who can afford it.

But an alternative interpretation of Pandora's curiosity makes it merely an extension of childish innocence. This comes out in portrayals of Pandora as a young girl, as in Walter Crane's "Little Pandora" spilling buttons while encumbered by the doll she is carrying, in Arthur Rackham's book illustration and Frederick Stuart Church's etching of an adolescent girl taken aback by the contents of the ornamental box she has opened. The same innocence informs Odilon Redon's 1910/12 clothed figure carrying a box and merging into a landscape suffused with light, and even more the 1914 version of a naked Pandora surrounded by flowers, a primaeval Eve in the Garden of Eden. Such innocence, "naked and without alarm" in the words of an earlier French poet, portrays Pandora more as victim of a conflict outside her comprehension than as temptress.

Between Eve and Pygmalion

Early dramatic treatments of the story of Pandora are works of musical theatre. La Estatua de Prometeo (1670) by Pedro Calderón de la Barca is made an allegory in which devotion to learning is contrasted with the active life. Prometheus moulds a clay statue of Minerva, the goddess of wisdom to whom he is devoted, and gives it life from a stolen sunbeam. This initiates a debate among the gods whether a creation outside their own work is justified; his devotion is in the end rewarded with permission to marry his statue. In this work, Pandora, the statue in question, plays only a passive role in the competition between Prometheus and his brother Epimetheus (signifying the active life), and between the gods and men.

Pandora, Odilon Redon's c. 1914 oil painting depicting Pandora as an innocent Eve

Another point to note about Calderón's musical drama is that the theme of a statue married by her creator is more suggestive of the story of Pygmalion. The latter is also typical of Voltaire's ultimately unproduced opera Pandore (1740). There too the creator of a statue animates it with stolen fire, but then the plot is complicated when Jupiter also falls in love with this new creation but is prevented by Destiny from consummating it. In revenge the god sends Destiny to tempt this new Eve into opening a box full of curses as a punishment for Earth's revolt against Heaven.

If Pandora appears suspended between the roles of Eve and of Pygmalion's creation in Voltaire's work, in Charles-Pierre Colardeau's erotic poem Les Hommes de Prométhée (1774) she is presented equally as a love-object and in addition as an unfallen Eve:

Not ever had the painter's jealous veil
Shrouded the fair Pandora's charms:
Innocence was naked and without alarm.

Having been fashioned from clay and given the quality of "naïve grace combined with feeling", she is set to wander through an enchanted landscape. There she encounters the first man, the prior creation of Prometheus, and warmly responds to his embrace. At the end the couple quit their marriage couch and survey their surroundings "As sovereigns of the world, kings of the universe".

One other musical work with much the same theme was Aumale de Corsenville's one-act verse melodrama Pandore, which had an overture and incidental music by Franz Ignaz Beck. There Prometheus, having already stolen fire from heaven, creates a perfect female, "artless in nature, of limpid innocence", for which he anticipates divine vengeance. However, his patron Minerva descends to announce that the gods have gifted Pandora with other qualities and that she will become the future model and mother of humanity. The work was performed on 2 July 1789, on the very eve of the French Revolution, and was soon forgotten in the course of the events that followed.

19th century drama

Over the course of the 19th century, the story of Pandora was interpreted in radically different ways by four dramatic authors in four countries. In two of these she was presented as the bride of Epimetheus; in the two others she was the wife of Prometheus. The earliest of these works was the lyrical dramatic fragment by Johann Wolfgang von Goethe, written between 1807 and 1808. Though it bears the title Pandora, what exists of the play revolves round Epimetheus' longing for the return of the wife who has abandoned him and has yet to arrive. A biographer has argued that it is a philosophical transformation of Goethe's passion in old age for a teenaged girl.

Henry Wadsworth Longfellow's The Masque of Pandora dates from 1876. It begins with her creation, her refusal by Prometheus and acceptance by Epimetheus. Then in the latter's house an "oaken chest, Carven with figures and embossed with gold" attracts her curiosity. After she eventually gives in to temptation and opens it, she collapses in despair and a storm destroys the garden outside. When Epimetheus returns, she begs him to kill her but he accepts joint responsibility. The work was twice used as the basis for operas by Alfred Cellier in 1881 and by Eleanor Everest Freer in 1933. Iconographical elements from the masque also figure in Walter Crane's large watercolour of Pandora of 1885. She is pictured as sprawled over a carved wooden chest on which are embossed golden designs of the three fates who figure as a chorus in Longfellow's scene 3. Outside the palace, a high wind is bending the trees. But on the front of the chest, a medallion showing the serpent wound about the tree of knowledge recalls the old interpretation of Pandora as a type of Eve.

In England the high drama of the incident was travestied in James Robinson Planché's Olympic Revels or Prometheus and Pandora (1831), the first of the Victorian burlesques. It is a costume drama peppered with comic banter and songs during which the gods betroth Pandora to a disappointed Prometheus with "only one little box" for dowry. When she opens it, Jupiter descends to curse her and Prometheus, but Hope emerges from the box and negotiates their pardon.

At the other end of the century, Gabriel Fauré's ambitious opera Prométhée (1900) had a cast of hundreds, a huge orchestra and an outdoor amphitheatre for stage. It was based in part on the Prometheus Bound of Aeschylus but was rewritten so as to give the character of Pandore an equal part with his. This necessitated her falling "as if dead" on hearing the judgement against Prométhée in Act 1; a funeral procession bearing her body at the start of Act 2, after which she revives to mourn the carrying out of Prométhée's sentence; while in Act 3 she disobeys Prométhée by accepting a box, supposedly filled with blessings for mankind, and makes the tragedy complete.

The pattern during the 19th century had only repeated that of the nearly three millennia before it. The ancient myth of Pandora never settled into one accepted version, was never agreed to have a single interpretation. It was used as a vehicle to illustrate the prevailing ideologies or artistic fashions of the time and eventually became so worn a coinage that it grew confused with other, sometimes later, stories. Best known in the end for a single metaphorical attribute, the box with which she was not even endowed until the 16th century, depictions of Pandora have been further confused with other holders of receptacles – with one of the trials of Psyche, with Sophonisba about to drink poison or Artemisia with the ashes of her husband. Nevertheless, her very polyvalence has been in the end the guarantor of her cultural survival.

Wednesday, June 7, 2023

Pandora's box

From Wikipedia, the free encyclopedia
Lawrence Alma-Tadema's water-colour of an ambivalent Pandora, 1881
 
A pithos from Crete, c. 675 BC. Louvre

Pandora's box is an artifact in Greek mythology connected with the myth of Pandora in Hesiod's c. 700 B.C. poem Works and Days. Hesiod related that curiosity led her to open a container left in the care of her husband, thus releasing curses upon mankind. Later depictions of the story have been varied, with some literary and artistic treatments focusing more on the contents than on Pandora herself.

The container mentioned in the original account was actually a large storage jar, but the word was later mistranslated. In modern times an idiom has grown from the story meaning "Any source of great and unexpected troubles", or alternatively "A present which seems valuable but which in reality is a curse".

In mythology

According to Hesiod, when Prometheus stole fire from heaven, Zeus, the king of the gods, took vengeance by presenting Pandora to Prometheus' brother Epimetheus. Pandora opened a jar left in her care containing sickness, death and many other unspecified evils which were then released into the world. Though she hastened to close the container, only one thing was left behind – usually translated as Hope, though it could also have the pessimistic meaning of "deceptive expectation".

From this story has grown the idiom "to open a Pandora's box", meaning to do or start something that will cause many unforeseen problems. A modern, more colloquial equivalent is "to open a can of worms".

An Attic pyxis, 440–430 BC. British Museum

Etymology of the "box"

The word translated as "box" was actually a large jar (πίθος pithos) in Greek. 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. Many scholars see a close analogy between Pandora herself, who was made from clay, and the clay jar which dispenses evils.

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". 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). In his version the box is opened by Epimetheus, whose name means 'Afterthought' – or as Hesiod comments, "he whom mistakes made wise".

There were alternative accounts of jars or urns containing blessings and evils bestowed upon humanity in Greek myth, of which a very early account is related in Homer's Iliad:

On the floor of Jove's palace there stand two urns, the one filled with evil gifts, and the other with good ones. He for whom Jove the lord of thunder mixes the gifts he sends, will meet now with good and now with evil fortune; but he to whom Jove sends none but evil gifts will be pointed at by the finger of scorn, the hand of famine will pursue him to the ends of the world, and he will go up and down the face of the earth, respected neither by gods nor men.

In a major departure from Hesiod, the 6th-century BC Greek elegiac poet Theognis of Megara states that

Hope is the only good god remaining among mankind;
the others have left and gone to Olympus.
Trust, a mighty god has gone, Restraint has gone from men,
and the Graces, my friend, have abandoned the earth.
Men's judicial oaths are no longer to be trusted, nor does anyone
revere the immortal gods; the race of pious men has perished and
men no longer recognize the rules of conduct or acts of piety.

Giulio Bonasone's 16th century engraving of Epimetheus opening the fatal jar

The poem seems to hint at a myth in which the jar contained blessings rather than evils. 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. Rather than a named female, it was a generic "foolish man" (ἀκρατὴς ἄνθρωπος) who opened the jar out of curiosity and let them escape. 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.

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). 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 [Hesiod] has told you". 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."

An 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. 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. 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). Hope (spes) is delayed on the lip and holds aloft the flower that is her attribute.

Difficulties of interpretation

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. L. West: "[Hope's retention in the jar] 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: "[Hope] 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?

As with most ancient Greek words, elpis can be translated in a number of ways. 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. Others hold the minority view that elpis should be rendered "expectation of evil" (vel sim).

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. Some have argued that logic dictates, therefore, that the jar acts as a prison for elpis as well, withholding it from the human race. 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. A less pessimistic interpretation understands the myth to say: countless evils fled Pandora's jar and plague human existence; the hope that humanity might be able to master these evils remains imprisoned inside the jar. Life is not hopeless, but human beings are hopelessly human.

It is also argued that hope was simply one of the evils in the jar, the false kind of hope, and was no good for humanity, since, later in the poem, Hesiod writes that hope is empty (498) and no good (500) and makes humanity lazy by taking away their industriousness, making them prone to evil.

In Human, All Too Human, philosopher Friedrich Nietzsche argued that "Zeus did not want man to throw his life away, no matter how much the other evils might torment him, but rather to go on letting himself be tormented anew. To that end, he gives man hope. In truth, it is the most evil of evils because it prolongs man's torment."

An objection to the "hope is good/the jar is a prison" interpretation counters that, if the jar is full of evils, then what is expectant hope – a blessing – doing among them? This objection leads some to render elpis as the expectation of evil, which would make the myth's tone somewhat optimistic: although mankind is troubled by all the evils in the world, at least it is spared the continual expectation of evil, which would make life unbearable.

The optimistic reading of the myth is expressed by M. L. West. Elpis takes the more common meaning of expectant hope. And while the jar served as a prison for the evils that escaped, it thereafter serves as a residence for Hope. West explains, "It would be absurd to represent either the presence of ills by their confinement in a jar or the presence of hope by its escape from one." Hope is thus preserved as a benefit for humans.

Fixing the blame

Neither Alciato nor Faerno had named who was responsible for opening the jar beyond saying it was a "mortal". During the Renaissance it is the name of Epimetheus that is mentioned as often as not, as in the engraving by Bonasone noticed above and the mention of Pandora's partner in a rondeau that Isaac de Benserade took it on himself to insert into his light-hearted version of the Metamorphoses (1676) - although Ovid had not in fact written about it himself.

Pandora seated with her husband Epimetheus, who has just opened her jar of curses; an etching by Sébastien Le Clerc (1676)

In a jar an odious treasure is
Shut by the gods' wish:
A gift that's not everyday,
The owner's Pandora alone;
And her eyes, this in hand,
Command the best in the land
As she flits near and far;
Prettiness can't stay
Shut in a jar.
Someone took her eye, he took
A look at what pleased her so
And out came the grief and woe
We won't ever be rid of,
For heaven had hidden
That in the jar.

The etching by Sébastien Le Clerc that accompanied the poem in the book shows Pandora and Epimetheus seated on either side of a jar from which clouds of smoke emerge, carrying up the escaping evils. The lid of the jar is quite plainly in Epimetheus' hand. Paolo Farinati, an earlier Venetian artist, was also responsible for a print which laid the blame on Epimetheus, depicting him as lifting the lid from the jar that Pandora is holding. Out of it boils a cloud which carries up a man and a dragon; between them they support a scroll reading "sero nimirum sapere caepit" (finding out too late), in reference to the meaning of Epimetheus' name in Greek.

An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit, 1557), an etching ascribed to Marco Angelo del Moro

Another Venetian print, ascribed to Marco Angelo del Moro (active 1565 – 1586), is much more enigmatic. Usually titled "Pandora's Box, or The Sciences that Illuminate the Human Spirit", it portrays a woman in antique dress opening an ornate coffer from which spill books, manuscripts, snakes and bats. By Pandora's side is a woman carrying a burning brand, while a horned figure flees in the opposite direction. Above is a curved vault painted with signs of the zodiac to which the sun-god Apollo is pointing, while opposite him another figure falls through the stars. Commentators ascribe different meanings to these symbols as contradictory as the contents of the chest. In one reading, the hand Pandora holds up to her face makes her the figure of Ignorance. Alternatively her eyes are protected because she is dazzled and the snakes crawling from the chest are ancient symbols of wisdom. Apollo, seated above, points to Aquarius, the zodiacal sign of January/February, which marks the "Ascent of the Sun" from the trough of winter. The falling figure opposite him may be identified either as Lucifer or as night fleeing before the dawn; in either case, the darkness of ignorance is about to be dispelled. The question remains whether the box thus opened will in the end be recognised as a blessing; whether the ambiguous nature of knowledge is either to help or to hurt.

In later centuries the emphasis in art has generally been on the person of Pandora. With few exceptions, the box has appeared merely as her attribute. René Magritte's street scene of 1951, however, one of the few modern paintings to carry the title "Pandora's Box", is as enigmatic as were the Renaissance allegorical prints.

Theatre

In the first half of the 18th-century, three French plays were produced with the title "Pandora's Box" (La Boîte – or Boëte – de Pandore). In each of these, the main interest is in the social and human effects of the evils released from the box and in only one of them does Pandora figure as a character. The 1721 play by Alain René Lesage appeared as part of the longer La Fausse Foire. It was a one-act prose drama of 24 scenes in the commedia dell'arte style. At its opening, Mercury has been sent in the guise of Harlequin to check whether the box given by Jupiter to the animated statue Pandora has been opened. He proceeds to stir up disruption in her formerly happy village, unleashing ambition, competition, greed, envy, jealousy, hatred, injustice, treachery and ill-health. Amid the social breakdown, Pierrot falls out with the bride he was about to marry at the start of the play and she becomes engaged instead to a social upstart.

The play by Philippe Poisson (1682-1743) was a one-act verse comedy first produced in 1729. There Mercury visits the realm of Pluto to interview the ills shortly to be unleashed on mankind. The characters Old Age, Migraine, Destitution, Hatred, Envy, Paralysis, Quinsy, Fever and Transport (emotional instability) report their effects to him. They are preceded by Love, who argues that he deserves to figure among them as a bringer of social disruption. The later play of 1743 was written by Pierre Brumoy and subtitled "curiosity punished" (la curiosité punie). The three-act satirical verse comedy is set in the home of Epimetheus and the six children recently created by Prometheus. Mercury comes on a visit, bringing the fatal box with him. In it are the evils soon to subvert the innocence of the new creations. Firstly seven flatterers: the Genius of Honours, of Pleasures, Riches, Gaming (pack of cards in hand), Taste, Fashion (dressed as Harlequin) and False Knowledge. These are followed by seven bringers of evil: envy, remorse, avarice, poverty, scorn, ignorance and inconstancy. The corrupted children are rejected by Prometheus but Hope arrives at the end to bring a reconciliation.

It is evident from these plays that, in France at least, blame had shifted from Pandora to the trickster god who contrives and enjoys mankind's subversion. Although physical ills are among the plagues that visit humanity, greater emphasis is given to the disruptive passions which destroy the possibility of harmonious living.

Poetry

Dante Gabriel Rossetti's painting of Pandora holding the box, 1871

Two poems in English dealing with Pandora's opening of the box are in the form of monologues, although Frank Sayers preferred the term monodrama for his recitation with lyrical interludes, written in 1790. In this Pandora is descending from Heaven after being endowed with gifts by the gods and therefore feels empowered to open the casket she carries, releasing strife, care, pride, hatred and despair. Only the voice of Hope is left to comfort her at the end. In the poem by Samuel Phelps Leland (1839-1910), Pandora has already arrived in the household of Epimetheus and feels equally confident that she is privileged to satisfy her curiosity, but with a worse result. Shutting the lid too early, she thus "let loose all curses on mankind/ Without a hope to mitigate their pain". This is the dilemma expressed in the sonnet that Dante Gabriel Rossetti wrote to accompany his oil painting of 1869–71. The gifts with which Pandora has been endowed and that made her desirable are ultimately subverted, "the good things turned to ill…Nor canst thou know/ If Hope still pent there be alive or dead." In his painting Rossetti underlines the point as a fiery halo streams upward from the opening casket on which is inscribed the motto NESCITUR IGNESCITUR (unknown it burns).

While the speakers of the verse monologues are characters hurt by their own simplicity, Rossetti's painting of the red-robed Pandora, with her expressive gaze and elongated hands about the jewelled casket, is a more ambiguous figure. So too is the girl in Lawrence Alma-Tadema's watercolour of Pandora (see above), as the comments of some of its interpreters indicate. Sideways against a seascape, red-haired and naked, she gazes down at the urn lifted towards her "with a look of animal curiosity", according to one contemporary reviewer, or else "lost in contemplation of some treasure from the deep" according to another account. A moulded sphinx on the unopened lid of the urn is turned in her direction. In the iconography of the time, such a figure is usually associated with the femme fatale, but in this case, the crown of hyacinths about her head identifies Pandora as an innocent Greek maiden. Nevertheless, the presence of the sphinx at which she gazes with such curiosity suggests a personality on the cusp, on the verge of gaining some harmful knowledge that will henceforth negate her uncomplicated qualities. The name of Pandora already tells her future.

Utopian socialism

Utopian socialism is the term often used to describe the first current of modern socialism and socialist thought as exemplified by the work of Henri de Saint-Simon, Charles Fourier, Étienne Cabet, and Robert Owen. Utopian socialism is often described as the presentation of visions and outlines for imaginary or futuristic ideal societies, with positive ideals being the main reason for moving society in such a direction. Later socialists and critics of utopian socialism viewed utopian socialism as not being grounded in actual material conditions of existing society. These visions of ideal societies competed with revolutionary and social democratic movements.

As a term or label, utopian socialism is most often applied to, or used to define, those socialists who lived in the first quarter of the 19th century who were ascribed the label utopian by later socialists as a pejorative in order to imply naïveté and to dismiss their ideas as fanciful and unrealistic. A similar school of thought that emerged in the early 20th century which makes the case for socialism on moral grounds is ethical socialism.

One key difference between utopian socialists and other socialists such as most anarchists and Marxists is that utopian socialists generally do not believe any form of class struggle or social revolution is necessary for socialism to emerge. Utopian socialists believe that people of all classes can voluntarily adopt their plan for society if it is presented convincingly. They feel their form of cooperative socialism can be established among like-minded people within the existing society and that their small communities can demonstrate the feasibility of their plan for society. Because of this tendency, utopian socialism was also related to classical radicalism, a left-wing liberal ideology.

Development

The term utopian socialism was introduced by Karl Marx in "For a Ruthless Criticism of Everything" in 1843 and then developed in The Communist Manifesto in 1848. The term was used by later socialist thinkers to describe early socialist or quasi-socialist intellectuals who created hypothetical visions of egalitarian, communal, meritocratic, or other notions of perfect societies without considering how these societies could be created or sustained.

In The Poverty of Philosophy, Marx criticized the economic and philosophical arguments of Proudhon set forth in The System of Economic Contradictions, or The Philosophy of Poverty. Marx accused Proudhon of wanting to rise above the bourgeoisie. In the history of Marx's thought and Marxism, this work is pivotal in the distinction between the concepts of utopian socialism and what Marx and the Marxists claimed as scientific socialism. Although utopian socialists shared few political, social, or economic perspectives, Marx and Engels argued that they shared certain intellectual characteristics. In The Communist Manifesto, Marx and Friedrich Engels wrote:

The undeveloped state of the class struggle, as well as their own surroundings, causes Socialists of this kind to consider themselves far superior to all class antagonisms. They want to improve the condition of every member of society, even that of the most favored. Hence, they habitually appeal to society at large, without distinction of class; nay, by preference, to the ruling class. For how can people, when once they understand their system, fail to see it in the best possible plan of the best possible state of society? Hence, they reject all political, and especially all revolutionary, action; they wish to attain their ends by peaceful means, and endeavor, by small experiments, necessarily doomed to failure, and by the force of example, to pave the way for the new social Gospel.

Marx and Engels associated utopian socialism with communitarian socialism which similarly sees the establishment of small intentional communities as both a strategy for achieving and the final form of a socialist society. Marx and Engels used the term scientific socialism to describe the type of socialism they saw themselves developing. According to Engels, socialism was not "an accidental discovery of this or that ingenious brain, but the necessary outcome of the struggle between two historically developed classes, namely the proletariat and the bourgeoisie. Its task was no longer to manufacture a system of society as perfect as possible, but to examine the historical-economic succession of events from which these classes and their antagonism had of necessity sprung, and to discover in the economic conditions thus created the means of ending the conflict". Critics have argued that utopian socialists who established experimental communities were in fact trying to apply the scientific method to human social organization and were therefore not utopian. On the basis of Karl Popper's definition of science as "the practice of experimentation, of hypothesis and test", Joshua Muravchik argued that "Owen and Fourier and their followers were the real 'scientific socialists.' They hit upon the idea of socialism, and they tested it by attempting to form socialist communities". By contrast, Muravchik further argued that Marx made untestable predictions about the future and that Marx's view that socialism would be created by impersonal historical forces may lead one to conclude that it is unnecessary to strive for socialism because it will happen anyway.

Social unrest between the employee and employer in a society results from the growth of productive forces such as technology and natural resources are the main causes of social and economic development. These productive forces require a mode of production, or an economic system, that’s based around private property rights and institutions that determine the wage for labor.  Additionally, the capitalist rulers control the modes of production. This ideological economic structure allows the bourgeoises to undermine the worker’s sensibility of their place in society, being that the bourgeoises rule the society in their own interests. These rulers of society exploit the relationship between labor and capital, allowing for them to maximize their profit. To Marx and Engels, the profiteering through the exploitation of workers is the core issue of capitalism, explaining their beliefs for the oppression of the working class. Capitalism will reach a certain stage, one of which it cannot progress society forward, resulting in the seeding of socialism. As a socialist, Marx theorized the internal failures of capitalism. He described how the tensions between the productive forces and the modes of production would lead to the downfall of capitalism through a social revolution. Leading the revolution would be the proletariat, being that the preeminence of the bourgeoise would end. Marx’s vision of his society established that there would be no classes, freedom of mankind, and the opportunity of self-interested labor to rid any alienation. In Marx’s view, the socialist society would better the lives of the working class by introducing equality for all.

Since the mid-19th century, Engels overtook utopian socialism in terms of intellectual development and number of adherents. At one time almost half the population of the world lived under regimes that claimed to be Marxist. Currents such as Owenism and Fourierism attracted the interest of numerous later authors but failed to compete with the now dominant Marxist and Anarchist schools on a political level. It has been noted that they exerted a significant influence on the emergence of new religious movements such as spiritualism and occultism.

Utopian socialists were seen as wanting to expand the principles of the French revolution in order to create a more rational society. Despite being labeled as utopian by later socialists, their aims were not always utopian and their values often included rigid support for the scientific method and the creation of a society based upon scientific understanding.

In literature and in practice

Utopian socialist pamphlet of Swiss social medical doctor Rudolf Sutermeister (1802–1868)

Edward Bellamy (1850–1898) published Looking Backward in 1888, a utopian romance novel about a future socialist society. In Bellamy's utopia, property was held in common and money replaced with a system of equal credit for all. Valid for a year and non-transferable between individuals, credit expenditure was to be tracked via "credit-cards" (which bear no resemblance to modern credit cards which are tools of debt-finance). Labour was compulsory from age 21 to 40 and organised via various departments of an Industrial Army to which most citizens belonged. Working hours were to be cut drastically due to technological advances (including organisational). People were expected to be motivated by a Religion of Solidarity and criminal behavior was treated as a form of mental illness or "atavism". The book ranked as second or third best seller of its time (after Uncle Tom's Cabin and Ben Hur). In 1897, Bellamy published a sequel entitled Equality as a reply to his critics and which lacked the Industrial Army and other authoritarian aspects.

William Morris (1834–1896) published News from Nowhere in 1890, partly as a response to Bellamy's Looking Backwards, which he equated with the socialism of Fabians such as Sydney Webb. Morris' vision of the future socialist society was centred around his concept of useful work as opposed to useless toil and the redemption of human labour. Morris believed that all work should be artistic, in the sense that the worker should find it both pleasurable and an outlet for creativity. Morris' conception of labour thus bears strong resemblance to Fourier's, while Bellamy's (the reduction of labour) is more akin to that of Saint-Simon or in aspects Marx.

The Brotherhood Church in Britain and the Life and Labor Commune in Russia were based on the Christian anarchist ideas of Leo Tolstoy (1828–1910). Pierre-Joseph Proudhon (1809–1865) and Peter Kropotkin (1842–1921) wrote about anarchist forms of socialism in their books. Proudhon wrote What is Property? (1840) and The System of Economic Contradictions, or The Philosophy of Poverty (1847). Kropotkin wrote The Conquest of Bread (1892) and Fields, Factories and Workshops (1912). Many of the anarchist collectives formed in Spain, especially in Aragon and Catalonia, during the Spanish Civil War were based on their ideas. While linking to different topics is always useful to maximize exposure, anarchism does not derive itself from utopian socialism and most anarchists would consider the association to essentially be a marxist slur designed to reduce the credibility of anarchism amongst socialists.

Many participants in the historical kibbutz movement in Israel were motivated by utopian socialist ideas. Augustin Souchy (1892–1984) spent most of his life investigating and participating in many kinds of socialist communities. Souchy wrote about his experiences in his autobiography Beware! Anarchist! Behavioral psychologist B. F. Skinner (1904–1990) published Walden Two in 1948. The Twin Oaks Community was originally based on his ideas. Ursula K. Le Guin (1929-2018) wrote about an impoverished anarchist society in her book The Dispossessed, published in 1974, in which the anarchists agree to leave their home planet and colonize a barely habitable moon in order to avoid a bloody revolution.

Related concepts

Some communities of the modern intentional community movement such as kibbutzim could be categorized as utopian socialist. Some religious communities such as the Hutterites are categorized as utopian religious socialists.

Classless modes of production in hunter-gatherer societies are referred to as primitive communism by Marxists to stress their classless nature.

Notable utopian socialists

Notable utopian communities

Utopian communities have existed all over the world. In various forms and locations, they have existed continuously in the United States since the 1730s, beginning with Ephrata Cloister, a religious community in what is now Lancaster County, Pennsylvania.

Owenite communities
Fourierist communities
Icarian communities
Anarchist communities
Others

Forbidden fruit

From Wikipedia, the free encyclopedia

Forbidden fruit is a name given to the fruit growing in the Garden of Eden which God commands mankind not to eat. In the biblical story, Adam and Eve eat the fruit from the tree of the knowledge of good and evil and are exiled from Eden.

And the Lord God commanded the man, saying, Of every tree of the garden thou mayest freely eat: But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die.

As a metaphor outside of the Abrahamic religions, the phrase typically refers to any indulgence or pleasure that is considered illegal or immoral.

Biblical story

The story of the Book of Genesis places the first man and woman, Adam and Eve, in the Garden of Eden, where they may eat the fruit of many trees, but are forbidden by God to eat from the tree of knowledge of good and evil.

In Genesis 3, a serpent tempts the woman:

And the serpent said unto the woman, Ye shall not surely die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.

Desiring this knowledge, the woman eats the forbidden fruit and gives some to the man, who also eats it. They become aware of their "nakedness" and make fig-leaf clothes, and hide themselves when God approaches. When confronted, Adam tells God that Eve gave him the fruit to eat, and Eve tells God that the serpent deceived her into eating it. God then curses the serpent, the woman, then the man, and expels the man and woman from the Garden before they ate of the tree of eternal life.

Quranic story

According to the Quran, Surah Al-A'raf 7:19 describes Adam and his wife in Paradise where they may eat what is provided, except for one Tree they must not eat from, lest they be considered Ẓālimūn (Arabic: ظالمون; wrongdoers).

Surah Al-A'raf 7:20–22 describes Shaitan (Arabic: شيطان), who whispers to Adam and his wife and deceives them. When they taste of the tree, their shame becomes manifest to them and they begin to cover themselves with leaves.

And their Lord called out to them: Did I not forbid you both from that tree and say to you that the Shaitan is your open enemy?

— Quran 7:22

Gnostic story

A Gnostic interpretation of the story proposes that it was the archons who created Adam and attempted to prevent him from eating the forbidden fruit in order to keep him in a state of ignorance, after the spiritual form of Eve entered the Tree of the Knowledge of Good and Evil while leaving a physical version of herself with Adam once she awakened him. But the forces of the heavenly realm (Pleroma) send the serpent as a representative of the divine sphere to reveal to Adam and Eve the evil intentions of their creators. The serpent succeeds in convincing them to eat the fruit and become like gods, capable of distinguishing between good and evil.

Identifications and depictions

The word fruit appears in Hebrew as פֶּ֫רִי (pərî ). As to which fruit may have been the forbidden fruit of the Garden of Eden, possibilities include apple, grape, pomegranate, fig, carob, etrog or citron, pear, quince, and mushrooms. The pseudepigraphic Book of Enoch describes the tree of knowledge: "It was like a species of the Tamarind tree, bearing fruit which resembled grapes extremely fine; and its fragrance extended to a considerable distance. I exclaimed, How beautiful is this tree, and how delightful is its appearance!" (1 Enoch 31:4).

In Islamic tradition, the fruit is commonly either identified with wheat or with grapevine.

Apple

In Western Europe, the fruit was often depicted as an apple. This was possibly because of a misunderstanding of – or a pun on – two unrelated words mălum, a native Latin noun which means evil (from the adjective malus), and mālum, another Latin noun, borrowed from Greek μῆλον, which means apple. In the Vulgate, Genesis 2:17 describes the tree as de ligno autem scientiae boni et mali : "but of the tree [literally wood ] of knowledge of good and evil" (mali here is the genitive of malum). According to the Bible, there is nothing to show the forbidden fruit of the tree of knowledge was necessarily an apple.

The larynx, specifically the laryngeal prominence that joins the thyroid cartilage, in the human throat is noticeably more prominent in males and was consequently called an Adam's apple, from a notion that it was caused by the forbidden fruit getting stuck in Adam's throat as he swallowed it.

Grape

Rabbi Meir says that the fruit was a grape, made into wine. The Zohar explains similarly that Noah attempted (but failed) to rectify the sin of Adam by using grape wine for holy purposes. The midrash of Bereishit Rabah states that the fruit was grape, or squeezed grapes (perhaps alluding to wine). Chapter 4 of 3 Baruch, also known as the Greek Apocalypse of Baruch, designates the fruit as the grape. 3 Baruch is a first to third century text that is either Christian or Jewish with Christian interpolations.

Fig

The Bible states in the book of Genesis that Adam and Eve had made their own fig leaf clothing: "And the eyes of them both were opened, and they knew that they were naked; and they sewed fig-leaves together, and made themselves girdles". Rabbi Nehemiah Hayyun supports the idea that the fruit was a fig, as it was from fig leaves that God made garments for Adam and Eve upon expelling them from the Garden. "By that with which they were made low were they rectified." Since the fig is a long-standing symbol of female sexuality, it enjoyed a run as a favorite understudy to the apple as the forbidden fruit during the Italian Renaissance, Michelangelo Buonarroti depicting it as such in his masterpiece fresco on the Sistine Chapel ceiling.

Pomegranate

Proponents of the theory that the Garden of Eden was located somewhere in what is now known as the Middle East suggest that the fruit was actually a pomegranate, a plant indigenous from Iran to the Himalayas and cultivated since ancient times. The association of the pomegranate with knowledge of the underworld as provided in the Ancient Greek legend of Persephone may also have given rise to an association with knowledge of the otherworld, tying-in with knowledge that is forbidden to mortals. Also, it is believed Hades offered Persephone a pomegranate to force her to stay with him in the underworld. Hades is the Greek god of the underworld and the Bible states that whoever eats the forbidden fruit shall die.

Wheat

Rabbi Yehuda proposes that the fruit was wheat, because "a baby does not know to call its mother and father until it tastes the taste of grain."

In Hebrew, wheat is "khitah", which has been considered to be a pun on "khet", meaning "sin".

Although commonly confused with a seed, in the study of botany a wheat berry is technically a simple fruit known as a caryopsis, which has the same structure as an apple. Just as an apple is a fleshy fruit that contains seeds, a grain is a dry fruit that absorbs water and contains a seed. The confusion comes from the fact that the fruit of a grass happens to have a form similar to some seeds.

Mushroom

Plaincourault fresco, Garden of Eden.jpg

A fresco in the 13th-century Plaincourault Abbey in France depicts Adam and Eve in the Garden of Eden, flanking a Tree of Knowledge that has the appearance of a gigantic Amanita muscaria, a psychoactive mushroom. Terence McKenna proposed that the forbidden fruit was a reference to psychotropic plants and fungi, specifically psilocybin mushrooms, which he theorized played a central role in the evolution of the human brain. Earlier, in a well-documented but heavily criticized study, John M. Allegro proposed the mushroom as the forbidden fruit.

Banana

Several proponents of the theory exist dating from the thirteenth century. In Nathan HaMe’ati's 13th century translation of Maimonides's work The Medical Aphorisms of Moses, the banana is called the "apple of eden". In the sixteenth century, Menahem Lonzano considered it common knowledge in Syria and Egypt that the banana was the apple of Eden.

Coco de mer

Charles George Gordon identified the forbidden fruit of the tree of knowledge with the coco de mer.

Parallel concepts

Greek mythology

The similarities of the story to the story of Pandora's box were identified by early Christians such as Tertullian, Origen, and Gregory of Nazianzus.

Tuesday, June 6, 2023

Eradication of suffering

From Wikipedia, the free encyclopedia

The eradication or abolition of suffering is the concept of using biotechnology to create a permanent absence of involuntary pain and suffering in all sentient beings.

Biology and medicine

The discovery of modern anesthesia in the 19th century was an early breakthrough in the elimination of pain during surgery, but acceptance was not universal. Some medical practitioners at the time believed that anesthesia was an artificial and harmful intervention in the body's natural response to injury. Opposition to anesthesia has since dissipated, however the prospect of eradicating pain raises similar concerns about interfering with life's natural functions.

People who are naturally incapable of feeling pain or unpleasant sensations due to rare conditions like pain asymbolia or congenital insensitivity to pain have been studied to discover the biological and genetic reasons for their pain-free lives. A Scottish woman with a previously unreported genetic mutation in a FAAH pseudogene (dubbed FAAH-OUT) with resultant elevated anandamide levels was reported in 2019 to be immune to anxiety, unable to experience fear, and insensitive to pain. The frequent burns and cuts she had due to her full hypoalgesia healed quicker than average.

In 1990, Medical Hypotheses published an article by L. S. Mancini on the "genetic engineering of a world without pain":

A hypothesis is presented to the effect that everything adaptive which is achievable with a mind capable of experiencing varying degrees of both pleasure and pain (the human condition as we know it) could be achieved with a mind capable of experiencing only varying degrees of pleasure.

The development of gene editing techniques like CRISPR has raised the prospect that "scientists can identify the causes of certain unusual people's physical superpowers and use gene editing to grant them to others." Geneticist George Church has commented on the potential future of replacing pain with a painless sensory system:

I imagine what this would be like on another planet and in the future, and... given that imagined future, whether we would be willing to come back to where we are now. Rather than saying whether we're willing to go forward... ask whether you're willing to come back.

Ethics and philosophy

Ethicists and philosophers in the schools of hedonism and utilitarianism, especially negative utilitarianism, have debated the merits of eradicating suffering. Transhumanist philosopher David Pearce, in The Hedonistic Imperative (1995), argues that the abolition of suffering is both technically feasible and an issue of moral urgency, stating that: "It is predicted that the world's last unpleasant experience will be a precisely dateable event."

The philosopher Nick Bostrom, director of the Future of Humanity Institute, advises a more cautious approach due to pain's function in protecting individuals from harm. However, Bostrom supports the core idea of using biotechnology to get rid of "a huge amount of unnecessary and undeserved suffering." It has also been argued that the eradication of suffering through biotechnology may bring about unwanted consequences, and arguments have been made that transhumanism is not the only philosophy worthy of consideration regarding the question of suffering — many people view suffering as one aspect in a dualist understanding of psychological and physical functioning, without which pleasure could not exist.

Animal welfare

In 2009, Adam Shriver suggested replacing animals in factory farming with genetically engineered animals with a reduced or absent capacity to suffer and feel pain. Shriver and McConnachie argued that people who wish to improve animal welfare should support gene editing in addition to plant-based diets and cultured meat.

Katrien Devolder and Matthias Eggel proposed gene editing research animals to remove pain and suffering. This would be an intermediate step towards eventually stopping all experimentation on animals and adopting alternatives.

Concerning wild-animal suffering, CRISPR-based gene drives have been suggested as a cost-effective way of spreading benign alleles in sexually reproducing species. To limit gene drives spreading indefinitely (for test programmes, for example), the Sculpting Evolution group at the MIT Media Lab developed a self-exhausting form of CRISPR-based gene drive called a "daisy-chain drive." For potential adverse effects of a gene drive, "[s]everal genetic mechanisms for limiting or eliminating gene drives have been proposed and/or developed, including synthetic resistance, reversal drives, and immunizing reversal drives."

Entropy (information theory)

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Entropy_(information_theory) In info...