潘はん朵拉的てき盒子

潘はん朵拉的てき盒子（Pandora's box）源みなもと自じ於希まれ臘神话，是ぜ宙ちゅう斯給きゅう潘はん朵拉的てき神秘しんぴ盒子，但ただし原本げんぽん在ざい神話しんわ中ちゅう是ぜ壺つぼ（Pithos），壺つぼ在ざい古希こき臘中是ぜ盛裝せいそう食品しょくひん的てき器具きぐ。

盒子的てき詞し源げん

翻譯ほんやく為ため「盒子」的てき單たん詞し在ざい希まれ臘語中ちゅう實際じっさい上じょう是ぜ一いち個こ大だい罐子かんす（πίθος/pithos）。^[1]^[2]Pithoi被ひ用よう於儲存そん酒しゅ、油あぶら、穀物こくもつ或ある其他食物しょくもつ，或ある者もの在ざい儀式ぎしき上じょう用作ようさく埋葬まいそう人體じんたい的てき容器ようき，人にん們相信しん靈魂れいこん會かい從したがえ中ちゅう逃脫並なみ必然ひつぜん返かえし回かい。^[3]許多きょた學者がくしゃ認みとめ為ため，潘はん朵拉本人ほんにん是ぜ用よう粘土ねんど製せい成なり的てき，與あずか釋放しゃくほう邪惡じゃあく的てき陶すえ罐かん之の間あいだ有ゆう著ちょ密みつ切きり的てき類比るいひ。^[4]

pithos的てき誤譯ごやく通常つうじょう歸き因いん於 16 世紀せいき的てき人文じんぶん主義しゅぎ者しゃ伊い拉ひしげ斯謨，他た在ざい對たい潘はん朵拉故事こじ的てき拉ひしげ丁ひのと語ご描述中將ちゅうじょう希まれ臘語 pithos 改あらため為ため pyxis，意思いし是ぜ「盒子」。^[5]這個故事こじ出現しゅつげん的てき背景はいけい是ぜ伊い拉ひしげ斯謨的てき諺ことわざ語ご集しゅう《阿達あだち吉きち亞あ》（Adagia，1508年ねん），以說明せつめい拉ひしげ丁ひのと語ご諺ことわざ語ごMalo accepto stultus sapit（經歷けいれき麻あさ煩はん使し傻瓜變へん得どく聰明そうめい）。在ざい他た的てき版本はんぽん中ちゅう，盒子是ぜ由ゆかり厄やく庇ひさし墨ぼく透とおる斯打開だかい的てき，他た的てき名字みょうじ的てき意思いし是ぜ「事後じご思考しこう」——或ある者もの正せい如赫西にし俄にわか德とく所說しょせつ，「犯はん錯的人じん變へん得どく聰明そうめい」。^[6]

不同ふどう版本はんぽん的てき容器ようき

尼あま科か洛らく·德とく爾なんじ·阿おもね巴ともえ特とく，1555年ねん
俄にわか羅ら斯噴泉いずみ，1801年ねん
詹姆斯·吉きち爾なんじ雷かみなり政治せいじ漫畫まんが，1809年ねん
約やく翰·吉きち布ぬの森もり（John Gibson）的てき《潘はん朵拉》，1899 年ねん
約やく翰·威い廉かど·沃特豪ごう斯，1896年ねん

寓意ぐうい

根據こんきょ神話しんわ，眾神之の王おう宙ちゅう斯要求ようきゅう潘はん朵拉不可ふか以開，但ただし潘はん朵拉不敵ふてき好奇心こうきしん的てき誘惑ゆうわく，還かえ是ぜ偷偷的てき把わ盒子打開だかい了りょう，但ただし在ざい盒子裡うら面めん裝そう的てき是ぜ許多きょた不幸ふこう的てき事物じぶつ。潘はん朵拉打開だかい魔ま盒後就釋放出ほうしゅつ往後人世じんせい間あいだ的てき所有しょゆう邪惡じゃあく——貪婪どんらん、虛偽きょぎ、誹謗ひぼう、嫉妒、痛苦つうく、疾病しっぺい、禍害かがい等とう等とう，原本げんぽん寧やすし靜せい沒ぼつ有ゆう任にん何なん災害さいがい動亂どうらん的てき世界せかい開始かいし動どう盪不安ふあん起おこり來らい，此時潘はん多た拉ひしげ趁「希望きぼう」（希まれ臘文Elpis（英えい语：Elpis (mythology)））沒ぼつ有ゆう來らい得とく及釋放しゃくほう時じ，在ざい慌亂中ちゅう依よ照あきら宙ちゅう斯的旨むね意い趕緊蓋ぶた住じゅう盒子，結果けっか盒內只ただ剩あま希望きぼう沒ぼつ飛出とびで去ざ，永遠えいえん鎖くさり在ざい盒內。因よし此即使し人類じんるい不斷ふだん地ち受苦じゅく受難じゅなん、遭遇そうぐう種種しゅじゅ挫折ざせつ和わ折おり磨みがけ，希望きぼう都と不ふ會かい出現しゅつげん。

有ゆう說法せっぽう指ゆび潘はん朵拉關せき住じゅう的てき應おう該是「預あずか兆ちょう」，因いん為ため預あずか兆這個災禍被困在盒底，所以ゆえん人類じんるい才ざい擁よう有ゆう希望きぼう，不ふ致於活かつ在ざい絕望ぜつぼう當とう中ちゅう；如果潘はん朵拉關せき住じゅう了りょう希望きぼう，那な麼人類るい世界せかい應おう該是沒ぼつ有希ゆうき望のぞむ，活かつ在ざい沒ぼつ有ゆう前途ぜんと、充滿じゅうまん了りょう毀滅的てき世界中せかいじゅう。但ただし有ゆう說法せっぽう認みとめ為ため這盒子こ裡うら除じょ了りょう裝そう有ゆう不幸ふこう的てき事物じぶつ之の外そと，同時どうじ也裝有ゆう友情ゆうじょう、愛情あいじょう等とう幸福こうふく的てき事物じぶつ，象徵しょうちょう一切美好的事物都收藏於內，所しょ以潘朵拉在ざい蓋ぶた上じょう盒子時じ才ざい留とめ住じゅう了りょう希望きぼう。

其實「盒子中ちゅう保存ほぞん希望きぼう」的てき寓意ぐうい歷れき來らい在學ざいがく界かい頗有爭議そうぎ。如果災禍さいか被ひ釋放しゃくほう出で盒子會かい帶たい給きゅう人類じんるい災禍さいか，那な希望きぼう未み被ひ釋放しゃくほう應おう該是「沒ぼつ帶たい給きゅう人類じんるい希望きぼう」，那な麼這段だん神話しんわ記載きさい的てき意い涵應該是更さら悲觀ひかん的てき，亦また即そく：本ほん出で於善意ぜんい而想少しょう放ひ一個災禍出去的潘朵拉反而誤把「希望きぼう」截留下か來らい，人間にんげん因いん此毫無む希望きぼう。還かえ有ゆう另一いち個こ問題もんだい是ぜ，宙ちゅう斯為何なん要よう在ざい盒中一堆災禍裡摻入性質不同的「希望きぼう」？這又牽涉了りょう其希臘原文げんぶん「Elpis」的てき詞し意い，古希こき臘這個こ詞し其實可か表ひょう達たち「對たい壞事或ある好事こうじ的てき期き望もち」。若わか是ぜ「對たい壞事的てき期き望もち」，那な就是一いち種しゅ讓ゆずる人じん容易ようい「擔驚受怕」的てき災禍さいか；但ただし即そく使つかい當とう成なり「對たい好事こうじ的てき期き望もち」（最さい接近せっきん「希望きぼう」），尼あま采さい也曾給きゅう出で最さい黑くろ暗くら的てき另類詮かい釋しゃく：宙ちゅう斯就是ぜ想そう要人ようじん類るい受盡各種かくしゅ災禍さいか折おり磨すり後ご仍抱持じ虛假こけ的てき希望きぼう，以致於願意がんい苟延殘ざん喘而繼續けいぞく遭受折おり磨すり。^{[來らい源みなもと請求せいきゅう]}

影かげ視し作品さくひん

以下いか為ため以潘朵拉盒子為ため主題しゅだい的てき影かげ視し作品さくひん：

《哆啦A梦》潘はん多た拉ひしげ魔ま盒
《古こ墓はか奇き兵へい：風ふう起おこり雲くも湧ゆう》（2003年ねん）
《奪だつ命いのち潘はん朵拉》（2017年ねん）：美國びくに恐怖きょうふ電でん影かげ
在ざい該作是ぜ带来灾难性せい恐怖きょうふ的てき可か怕暗器き。
《假面かめん騎士きしBuild》（2017年ねん）：日本にっぽん特とく攝と
在ざい該作是ぜ作さく为恶役やく騎士きし所しょ擁よう有ゆう的てき灭世兵器へいき。
《十じゅう二に傳說でんせつ》（2019年ねん）：
香港ほんこん民俗みんぞく學がく教授きょうじゅ潘はん朵拉（名字みょうじ起源きげん于潘朵拉的てき盒子）与あずか突发记者傅でん子こ博はく和わ高だか级督察易えき铭贤一起查明各个都市传说背后不为人知的真相。
《Fate/kaleid liner 魔法まほう少女しょうじょ☆伊い莉雅 3rei》（2012年ねん）：日本にっぽん動どう漫
在ざい該作中ちゅう是ぜ希まれ臘神話ばなし眾神在ざい神話しんわ時代じだい製造せいぞう的てき許もと願ねがい機き。

參考さんこう資料しりょう

稻葉いなば義明よしあき（2007），快かい醒來吧！傳說でんせつ中ちゅう的てき神秘しんぴ寶物ほうもつ，台北たいぺい：達觀たっかん出版しゅっぱん

^ Schlegel and Weinfield, "Introduction to Hesiod" p. 6
^ Meagher 2314, p. 148
^ Cf. Harrison, Jane Ellen, Prolegomena to the Study of Greek history, Chapter II, "The Pithoigia", pp.42-43. Cf. also Figure 7 which shows an ancient Greek pot painting in the University of Jena where Hermes is presiding over a body in a pithos buried in the ground. "In the vase painting in fig.7 from a lekythos in the University Museum of Jena we see a Pithoigia of quite other and solemn booty. A large pithos is sunk deep into the ground. It has served as a grave. ... The vase-painting in fig. 7 must not be regarded as an actual conscious representation of the rupent rite performed on the first day of the Anthesteria. It is more general in content; it is in fact simply a representation of ideas familiar to every Greek, that the pithos was a grave-jar, that from such grave-jars souls escaped and to them necessarily returned, and that Hermes was Psychopompos, Evoker and Revoker of souls. The vase-painting is in fact only another form of the scene so often represented on Athenian white lekythoi, in which the souls flutter round the grave-stele. The grave-jar is but the earlier form of sepulture; the little winged figures, the Keres, are identical in both classes of vase-painting."
^ Cf. Jenifer Neils 2005, p.41 especially: "They ignore, however, Hesiod's description of Pandora's pithos as arrektoisi or unbreakable. This adjective, which is usually applied to objects of metal, such as gold fetters and hobbles in Homer (Il. 13.37, 15.20), would strongly imply that the jar is made of metal rather than earthenware, which is obviously capable of being broken."
^ Meagher 1995, p. 56. In his notes to Hesiod's Works and Days (p.168) M.L. West has surmised that Erasmus may have confused the story of Pandora with that found elsewhere of a box which was opened by Psyche.
^ William Watson Baker, The Adages of Erasmus, University of Toronto 2001, 1 i 31, p.32

[1] Schlegel and Weinfield, "Introduction to Hesiod" p. 6

[2] Meagher 2314, p. 148

[3] Cf. Harrison, Jane Ellen, Prolegomena to the Study of Greek history, Chapter II, "The Pithoigia", pp.42-43. Cf. also Figure 7 which shows an ancient Greek pot painting in the University of Jena where Hermes is presiding over a body in a pithos buried in the ground. "In the vase painting in fig.7 from a lekythos in the University Museum of Jena we see a Pithoigia of quite other and solemn booty. A large pithos is sunk deep into the ground. It has served as a grave. ... The vase-painting in fig. 7 must not be regarded as an actual conscious representation of the rupent rite performed on the first day of the Anthesteria. It is more general in content; it is in fact simply a representation of ideas familiar to every Greek, that the pithos was a grave-jar, that from such grave-jars souls escaped and to them necessarily returned, and that Hermes was Psychopompos, Evoker and Revoker of souls. The vase-painting is in fact only another form of the scene so often represented on Athenian white lekythoi, in which the souls flutter round the grave-stele. The grave-jar is but the earlier form of sepulture; the little winged figures, the Keres, are identical in both classes of vase-painting."

[4] Cf. Jenifer Neils 2005, p.41 especially: "They ignore, however, Hesiod's description of Pandora's pithos as arrektoisi or unbreakable. This adjective, which is usually applied to objects of metal, such as gold fetters and hobbles in Homer (Il. 13.37, 15.20), would strongly imply that the jar is made of metal rather than earthenware, which is obviously capable of being broken."

[5] Meagher 1995, p. 56. In his notes to Hesiod's Works and Days (p.168) M.L. West has surmised that Erasmus may have confused the story of Pandora with that found elsewhere of a box which was opened by Psyche.

[6] William Watson Baker, The Adages of Erasmus, University of Toronto 2001, 1 i 31, p.32

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