Gods and Robots. Myths, Machines, and Ancient Dreams of Technology

(Tina Meador) #1

Notes to Pages 105–110 235



  1. Hard 2004, 96. Raggio 1958, 45. Sappho frag. 207 (Servius on Virgil).

  2. Simons 1992, quote 28; from mud metaphor to mechanical engineering metaphors,
    Zarkadakis 2015, 29– 34.

  3. According to Aesop Fables 516, “The clay that Prometheus used was not mixed
    with water but with tears.” Other sources for Prometheus’s creation of humans
    include Menander and Philemon, per Raggio 1958, 46; Aristophanes Birds 686;
    Aesop Fables 515 and 530; Apollodorus Library 1.7.1; Callimachus frag. 1, 8, and
    493; Aelian On Animals 1.53; Pausanias 10.4.4; Ovid Metamorphoses 1.82 and 1.363
    (Deucalion’s Flood); Horace Odes 1.16.13– 16 ; Propertius Elegies 3.5; Statius Thebaid
    8.295; Juvenal Sat. 14.35; Lucian Dialogi deorum 1.1; Hyginus Fabulae 142; Oppian
    Halieutica 5.4; Suidias (Suda) s.v. Gigantiai. Enlivened by fire: Raggio 1958, 49;
    Dougherty 2006, 50, citing Servius commentary on Virgil Eclogues 6.42.

  4. Early European travelers visited the ravine: in the eighteenth century Sir William
    Gell reported that some stones there emitted an odor; in the nineteenth century
    Colonel Leake found the pair of boulders but discerned no smell; George Frazer
    noticed reddish earth but no large rocks. See Peter Levi’s note 19 in vol. 1 of 1979
    Penguin edition of Pausanias.

  5. Pygmalion myth and ancient statue lust, Hansen 2017, 171– 75.

  6. Buddhist tale of a mechanical girl for sex, Lane 1947, 41– 42, and Kris and Kurz
    1979, 69– 70. Ambrosino 2017. Kang (2005) points out the misogynistic impulse
    in Pygmalion’s creation of a perfect woman and compares modern narratives of
    female sex robots, which, unlike the ancient myth, have unhappy endings.

  7. Marshall (2017) compares the female replicants of the Blade Runner films to Pyg-
    malion’s creation.

  8. Some interpret Apollodorus Library 3.14.3 to suggest that a son, Paphos, and a daugh-
    ter, Metharme, were born to Pygmalion’s living statue. Similarly, the plot of Blade
    Runner 2049 turns on the magical existence of two children, a girl and a boy who is
    an exact copy, born to the replicant Rachael, who died in childbirth. See chapter 8
    for a Roman- era fantasy about the offspring of the ancient replicant female Pandora.

  9. Pygmalion: Ovid Metamorphoses 10.243– 97; Heraclides Ponticus (lost work) cited
    by Hyginus Astronomica 2.42; Hyginus Fabulae 142; Philostephanus of Styrene cited
    in Clement of Alexandria Protepticus 4; Arnobius Against the Heathen 6.22. Hansen
    2004, 276. Hersey 2009, 94. Reception of Pygmalion myth, Grafton, Most, and
    Settis 2010, 793– 94; Wosk 2015.

  10. Raphael 2015, 184– 86.

  11. Hersey 2009. “Pygmalionism” differs from statue lust; it requires a lover to mimic
    a statue and then come to life.

  12. Philostratus Lives of the Sophists 2.18.

  13. Homer Iliad 2.698– 702 and commentary at 701 by Eustathius; Apollodorus Epitome
    3.30; Ovid Heroides 13.151; Hyginus Fabulae 104; for other ancient sources, see George
    Frazer’s commentary in the Loeb ed. of Apollodorus Epitome, pp. 200– 201n1.

  14. Wood 2002, 138– 39. Hersey 2009, 90–97. Athenaeus Learned Banquet 13.601– 606;
    citing the poets Alexis, Adaeus of Mytilene, Philemon, and Polemon. Truitt 2015a,
    101.

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