KING OF THE UNDERWORLD (Earthbound Book 1)

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In the theogony of Euhemerus (4th century BC), the gods were treated as mortal rulers whose deeds were immortalized by tradition. Ennius translated Euhemerus into Latin about a hundred years later, and a passage from his version was in turn preserved by the early Christian writer Lactantius. [155] Here the union of Saturn (the Roman equivalent of Cronus) and Ops, an Italic goddess of abundance, produces Jupiter (Greek Zeus), Juno (Hera), Neptune, Pluto, and Glauca: Late Period (644–322 BCE) relief of Osiris, Isis, and Horus at the Temple of Hibis, Kharga Oasis in the Libyan Desert, Egypt. C. Sappa / De Agostini Picture Library / Getty Images Plus Appearance and Reputation Kevin Clinton attempted to distinguish the iconography of Hades, Plouton, Ploutos, and the Eleusinian Theos in 5th-century vase painting that depicts scenes from or relating to the mysteries. In Clinton's schema, Plouton is a mature man, sometimes even white-haired; Hades is also usually bearded and mature, but his darkness is emphasized in literary descriptions, represented in art by dark hair. Plouton's most common attribute is a sceptre, but he also often holds a full or overflowing cornucopia; Hades sometimes holds a horn, but it is depicted with no contents and should be understood as a drinking horn. Unlike Plouton, Hades never holds agrarian attributes such as stalks of grain. His chest is usually bare or only partly covered, whereas Plouton is fully robed (exceptions, however, are admitted by the author). Plouton stands, often in the company of both Demeter and Kore, or sometimes one of the goddesses, but Hades almost always sits or reclines, usually with Persephone facing him. [88] "Confusion and disagreement" about the interpretation of these images remain. [89] The keys of Pluto [ edit ] Lucian, On Mourning (see Greek text); Peter Bolt, Jesus' Defeat of Death: Persuading Mark's Early Readers (Cambridge University Press, 2003) discusses this passage (pp. 126–127) and Greco-Roman concepts of the underworld as a context for Christian eschatology passim. The Styx. Circling the Underworld seven times, Styx was the river of hatred and unbreakable oaths; the gods are often depicted as taking vows by its waters.

King of the Underworld Novel by RJ Kane (Sophie and Adrik King of the Underworld Novel by RJ Kane (Sophie and Adrik

Hesiod, Theogony 969–74; Apostolos N. Athanassakis, Hesiod. Theogony, Works and Days, Shield (Johns Hopkins University Press, 1983, 2004), p. 56.In ancient Greek religion and mythology, Pluto ( Greek: Πλούτων, Ploutōn) was the ruler of the Greek underworld. The earlier name for the god was Hades, which became more common as the name of the underworld itself. Pluto represents a more positive concept of the god who presides over the afterlife. Ploutōn was frequently conflated with Ploûtos, the Greek god of wealth, because mineral wealth was found underground, and because as a chthonic god Pluto ruled the deep earth that contained the seeds necessary for a bountiful harvest. [1] The name Ploutōn came into widespread usage with the Eleusinian Mysteries, in which Pluto was venerated as both a stern ruler and a loving husband to Persephone. The couple received souls in the afterlife and are invoked together in religious inscriptions, being referred to as Plouton and as Kore respectively. Hades, by contrast, had few temples and religious practices associated with him, and he is portrayed as the dark and violent abductor of Persephone. an intimidating personage sitting on a throne of sulphur, holding the scepter of his realm in his right hand, and with his left strangling a soul. Under his feet three-headed Cerberus held a position, and beside him he had three Harpies. From his golden throne of sulphur flowed four rivers, which were called, as is known, Lethe, Cocytus, Phlegethon and Acheron, tributaries of the Stygian swamp. [192] The three goddesses of fate had prophesied that the children of Loki, Hel and her siblings, would cause the death of the Norse pantheon’s leaders. To spare himself that fate, Odin hurled them to the far corners of the world. In Book 3 of the Sibylline Oracles, dating mostly to the 2nd century AD, Rhea gives birth to Pluto as she passes by Dodona, "where the watery paths of the River Europus flowed, and the water ran into the sea, merged with the Peneius. This is also called the Stygian river." [160] Orphic and philosophical systems [ edit ]

King of the Underworld (1939 film) - Wikipedia

Claude Calame, "The Authority of Orpheus, Poet and Bard: Between Tradition and Written Practice," in Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis (De Gruyter, 2010), p. 16.Lucian, Dialogues of the Dead 23 (English translation from the 1820 edition of William Tooke; Jan Kott, The Eating of the Gods (Northwestern University Press, 1987), pp. 95–97. Lucian's dialogue has sometimes been referenced as a model for the premature loss of love between an active man carried suddenly into death and his young wife; see for instance Alfred Woltmann, Holbein and His Times (London, 1872), p. 280, and A.P. Russell, In a Club Corner: The Monologue of a Man Who Might Have Been Sociable (Houghton, Mifflin, 1890), pp. 78–79. The dialogue has also been seen as a burlesque of domesticity; Betrand A. Goldgar, Henry Fielding: Miscellanies (Wesleyan University Press, 1993), vol. 2, p. xxxviii. We don’t know that much about the Asphodel Meadows – it could have been a realm of utter neutrality – but we do know that it is there that Odysseus meets the shade of Achilles in Homer’s “Odyssey.” “Grieve not at all that thou art dead, Achilles,” says Odysseus unto him, pointing out to the great hero that he is blessed to rule mightily among the dead of this region. “If I could choose,” replies Achilles memorably, “I would rather be a paid servant in a poor man's house and be above ground than king of kings among the dead.” The Elysian Fields The Smyrna inscription also records the presence of Helios Apollon at the sanctuary. As two forms of Helios, Apollo and Pluto pose a dichotomy: Pluto's court as a literary setting could bring together a motley assortment of characters. In Huon de Méry's 13th-century poem "The Tournament of the Antichrist", Pluto rules over a congregation of "classical gods and demigods, biblical devils, and evil Christians." [215] In the 15th-century dream allegory The Assembly of Gods, the deities and personifications are "apparelled as medieval nobility" [216] basking in the "magnyfycence" of their "lord Pluto," who is clad in a "smoky net" and reeking of sulphur. [217] Plūtō ( [ˈpluːtoː]; genitive Plūtōnis) is the Latinized form of the Greek Plouton. Pluto's Roman equivalent is Dis Pater, whose name is most often taken to mean "Rich Father" and is perhaps a direct translation of Plouton. Pluto was also identified with the obscure Roman Orcus, like Hades the name of both a god of the underworld and the underworld as a place. Pluto ( Pluton in French and German, Plutone in Italian) becomes the most common name for the classical ruler of the underworld in subsequent Western literature and other art forms.