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I 1. Berger, “The Latest Word from Echo,” –. 2. Salzman-Mitchell, A Web of Fantasies, . 3. Bergren, “Helen’s Web,” –; Bergren, “Language and the Female in Early Greek Thought,” –. 4. DuBois, “Sappho and Helen,” –. 5. DuBois, “Sappho and Helen”; Winkler, “Gardens of Nymphs.” 6. Worman, “The Body as Argument,” ; see also Austin, Helen of Troy and Her Shameless Phantom. 7. Doherty,“Putting the Woman Back into the Hesiodic Catalogue of Women,” . 8. Richlin, Pornography and Representation in Greece and Rome, . 9. Richlin, “The Ethnographer’s Dilemma an d the Dream of a Lost Golden Age,” . 10. Plato, Phaedrus, trans. R. Hackforth, in The Collected Dialogues of Plato, ed. Hamilton and Cairns. 11. Cavarero, In Spite of Plato: A F eminist R ewriting of Ancient Phil osophy; Kofman, L’enigme de l a femme; Gallop, The Father’s Seduction. 12. Zajko and Leonard, Laughing with Medusa, . 13. Spentzou and Fowler, eds., Cultivating the Muse. 14. Spentzou, Readers and Writers in Ovid’s Heroides; Salzman-Mitchell, A Web of Fantasies. 15. E.g., Loraux, The Children of Athena; Bassi, “Helen and the Di scourse of Denial in Stesichorus’ Palinode”; Zeitlin, Playing the Other. 16. “The figure of Pandora combines all the tensions and ambivalences.” Vernant , Myth and Society in Ancient Greece, . 17. Pucci, Hesiod and the Language of Poetry. 18. Cantarella, Pandora’s Daughters; Warner, Monuments & Maidens; Lefkowitz, Women in Greek Myth; Reeder, ed., Pandora: Women in Cl assical Greece. 19. Sharrock and Morales, eds., Intratextuality, –. C . P’ L 1. Semonides of Amorgos, who addresses the cr eation of different t ypes of women, does not refer directly to Pandora. 2. The m yth of Pandora has a ttracted th e a ttention of many think ers an d artists, particularly since the end of the Middle Ages. See Panofsky and Panofsky, Pandora’s Box, –. A anthology on th e myth of Pandora collects passages from poets, prose writers, and critics from antiquity to our own time: Renger and Musäus, eds., Mythos Pandora. The anthology confirms Er vin and Dor a Panofsky ’s claim that treatments of Pandora in antiquity were sparse. The small number of ancient authors and commentators on Pandora deal with her mostly in the context of explicating Hesiod’s myth. 3. In the Catalogue of Women (fr. ) a figure named P andora appears as th e first w oman t o mak e lo ve t o Zeus. M. L. West and oth ers s ee thi s Pandora as different from the first woman of Theogony and Works and Da ys. See West, The Hesiodic Catalogue of Women, –. The question of how to reconstruct the relationship of the Catalogue’s Pandora t o th e Hesiodic image of the first w oman remains open. See Osborn,“Ordering Women in Hesiod’s Catalogue,” –, –. On the date of the final version of the catalogue see Hunter, ed., The Hesiodic Catalogue of Women, . 4. Ancient visual representations of the creation of Pandora typically comply with th e H esiodic v ersion. For a ca talogue an d ic onographic ana lysis of vases featuring her, see Reeder, ed., Pandora: Women in Cl assical Greece, –. Ellen D. Reeder examines the volute krater in the Ashmolean Museum as an exceptional representation of Pandora: ibid., . The Oxford vase shows Epimetheus looking at Pandora and carrying a hammer, a feature not described by Hesiod. Some scholars suggest that it reflects the influence of a lost satyr play by Sophocles entitled Pandora or The Hammerers. See Simon, “Satyr-Plays on Vases in the Time of Aeschylus,” –. The story of the creation of Pandora must ha ve had a g reat cultural sig nificance for Athens. According t o Pausanias .. the epi sode was part of the west pediment of the Parthenon. Locating Pandora within the orbit of the Athenians’ gaze ma y in dicate, as N icole Lor aux has demonstr ated, the central role of the first woman in shaping the Athenian autochthonous male identity . The artificial construction of the first woman by Hephaestus was set in opposition to the r epresented bir th of the first Athenian citizen, Erichthonios, from earth fertilized by Hephaestus’s sperm. See Loraux, The Children of Athena, –, n. . 5. I do n ot c laim tha t H esiod in vented th e st ory of Pandora; rather, he adapted the story of the first woman in a most original manner, and subsequently Notes to Pages – his idiosyn cratic tr...
