The scholiast gives the correct and canonical interpretation ‘to Pandora, the earth, because she bestows all things necessary for life.’ By his time, and long before, explanation was necessary. Hipponax[735] knew of her; Athenaeus, in his discussion of cabbages, quotes from memory the mysterious lines: ‘He grovelled, worshipping the seven-leaved cabbage To which Pandora sacrificed a cake At the Thargelia for a pharmakos.’ The passage, though obscure, is of interest because it connects Pandora the Earth-goddess with the Thargelia, the festival of the first-fruits of the Earth. Effaced in popular ritual she emerges in private superstition. Philostratos[736], in his _Life of Apollonius_, tells how a certain man, in need of money to dower his daughter, ‘sacrificed’ to Earth for treasure, and Apollonius, to whom he confided his desire, said, ‘Earth and I will help you,’ and he prayed to Pandora, sought in a garden, and found the desired treasure. * * * * * Pandora is in ritual and matriarchal theology the earth as Kore, but in the patriarchal mythology of Hesiod her great figure is strangely changed and minished. She is no longer Earth-born, but the creature, the handiwork of Olympian Zeus. On a late, red-figured krater in the British Museum[737], obviously inspired by Hesiod, we have the scene of her birth. She no longer rises halfway from the ground, but stands stiff and erect in the midst of the Olympians. Zeus is there seated with sceptre and thunderbolt, Poseidon is there, Iris and Hermes and Ares and Hera, and Athene about to crown the new-born maiden. Earth is all but forgotten, and yet so haunting is tradition that, in a lower row, beneath the Olympians, a chorus of men, disguised as goat-horned Panes, still dance their welcome. It is a singular reminiscence, and, save as a survival, wholly irrelevant. Hesiod loves the story of the Making of Pandora: he has shaped it to his own _bourgeois_, pessimistic ends; he tells it twice. Once in the _Theogony_[738], and here the new-born maiden has no name, she is just a ‘beautiful evil,’ a ‘crafty snare’ to mortals. But in the _Works and Days_[739] he dares to name her and yet with infinite skill to wrest her glory into shame: