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Really it's just a box, you can keep it, recycle it Note: Cat not included. Simply plug and play with any TV or Projector.
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The Box Really it's just a box, you can keep it, recycle it The Games. Click the video above to play. Click the link below to view all games.
Our Casing Dimensions. 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.
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.
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.
Once the lid was replaced, only hope remained, "promising that she will bestow on each of us the good things that have gone away.
In the Renaissance, the story of the jar was revisited by two immensely influential writers, Andrea Alciato in his Emblemata and the Neo-Latin poet Gabriele Faerno in his collection of a hundred fables Fabulum Centum , 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".
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. 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. West: "[Hope's retention in the jar] is comforting, and we are to be thankful for this antidote to our present ills.
Second, does the jar preserve Elpis for men, or keep Elpis away from men? As with most ancient Greek words, elpis can be translated a number of ways.
A number of scholars prefer the neutral translation of "expectation. How one answers the first question largely depends on the answer to the second question: should we interpret the jar to function as a prison, or a pantry?
Some have argued that logic dictates, therefore, that the jar acts as a prison for Elpis as well, withholding it from the human race. Life is not hopeless, but each of us is 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 and no good 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.
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 we are spared the continual expectation of evil, which would make life unbearable.
The optimistic reading of the myth is expressed by M. 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.
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 - although Ovid had not in fact written about it himself.
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.
Another Venetian print, ascribed to Marco Angelo del Moro active — , 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.
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.
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.
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 was a one-act verse comedy first produced in There Mercury visits the realm of Pluto to interview the ills shortly to be unleashed on mankind.
They are preceded by Love, who argues that he deserves to figure among them as a bringer of social disruption. 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. 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.
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 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. 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.
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.
The name of Pandora already tells her future. From Wikipedia, the free encyclopedia.
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