Hades, Homer and the Hittites the Cultic-​Cultural Context of Odysseus’ ‘Round Trip’ to the Underworld

Total Page:16

File Type:pdf, Size:1020Kb

Hades, Homer and the Hittites the Cultic-​Cultural Context of Odysseus’ ‘Round Trip’ to the Underworld Chapter 3 Hades, Homer and the Hittites The Cultic- Cultural Context of Odysseus’ ‘Round Trip’ to the Underworld Gunnel Ekroth One* of the most well- known round trips to Hades in antiquity is found in Book 11 of Homer’s Odyssey.1 The section, often labelled the Nekyia, tells of how Odysseus travels to the land of the Kimmerians at the outskirts of the world, which lies in eternal darkness, in order to consult the dead seer Teiresias to learn how he is to find his way back to Ithaka. Odysseus arrives at a lonely and deserted place where the rivers of the Underworld flow into Okeanos. Here he digs a hole in the riverbank, performs libations and sacrifices two black sheep, letting their blood flow into a pit so that Teiresias and other souls of the departed can drink and answer questions. The first dead person he encounters is his comrade Elpenor, followed by his mother Antikleia. Eventually Teiresias shows up, drinks of the blood and gives the required information as well as explains how Odysseus is to pro- pitiate Poseidon who is preventing his return. Teiresias also reveals that any soul that is allowed to drink of the blood will reveal the truth to Odysseus. Next follows a visit from 14 famous heroines who tell their stories and the encounter with three illustrious heroes of the Trojan War: Agamemnon, Achilles and Ajax. Then Hades opens up, and Odysseus is offered a glimpse of the topography of the realm of the dead, including Minos on his throne and Tityos, Tantalos and Sisyphos being punished. The eidōlon of Herakles makes an appearance and finally, when the souls of the dead press on, Odysseus fears that Persephone will even send upon him the head of the Gorgon, so he decides to leave. Although usually referred to as a katabasis, a descent into the Underworld, Odysseus’ journey does not really constitute a visit to Hades as he does not go down and come back up again.2 In this sense, Odysseus’ round trip differs from that of other Greek mythical heroes who actually had to enter Hades, since * I would like to thank Susanne Berndt and Scott Scullion for valuable comments on an earlier draft of this paper. 1 Homer, Odyssey 11.1– 640. 2 Although Pausanias, in his description of Polygnotos’ Nekyia painting in the leschē of the Knidians at Delphi, states that Odysseus has descended (καταβεβηκώς) into Hades (10.28.1). © Koninklijke Brill NV, Leiden, 2018 | DOI:10.1163/ 9789004375963_ 004 38 Ekroth their tasks required something present down there: Herakles to fetch Kerberos, Theseus and Peirithous to abduct Persephone and Orpheus to reclaim his dead wife. The patterns of movement in the Nekyia are not entirely clear, but all through the episode Odysseus and his men seem to remain on the same level as the world of the living, though very far away from civilization.3 While some of the dead come up from below, others are described as walking back into the House of Hades once the exchange is over. The contact with the Underworld is achieved with the help of the pit, but the dead do not seem to ascend through the hole, which is for holding the blood, but from somewhere else nearby, just as Odysseus’ sudden bird’s eye view of Hades happens as if the ground becomes transparent. When Odysseus finishes the interaction, he walks back to his ship, which presumably is moored along the edge of Okeanos, on the same level as the pit dug in the riverbank. On the whole, the Nekyia rather describes an anabasis, where the beings of the Underworld ascend, than a katabasis, where the living go down into Hades.4 Due to the different elements making up the Nekyia, including its impre- cise spatiality, Book 11 has often been conceived of as disorganized and inconsistent.5 Scholars have long held that the episode came into being over a substantial period of time, combining materials of different date, origin and character.6 Later interpolations and the oral origin of the later text have also been seen as contributing factors. On the other hand, studies of the narrative structure of Book 11 have underlined its clear internal unity, taken as an indi- cation of the Nekyia being the work of a poet with an obvious intent who suc- cessfully combines various motifs to fit the overall concept of the poem.7 Any certainty in this question is impossible, but the fact remains that Odysseus’ visit to the Underworld, even if it is not a round trip in the strict sense, remains iconic within renderings of katabaseis and undoubtedly describes the living Odysseus interacting with the dead from Hades. 3 See Steiner 1971, 269. For Odysseus’ travel to the west and the end of the world as corre- sponding to a vertical katabasis, see Burgess 1999, who characterizes the sea journey as a horizontal katabasis. 4 See Nesselrath’s discussion in this volume of the anabasis of Charon in Lucian’s dialogue of the same name. 5 The discussion, especially of Homer, Odyssey 11.565– 627, began already in antiquity, see Petzl 1969, 6– 43. 6 For overviews of the discussion, see Page 1955, 21– 51; Steiner 1971, 265– 66; Crane 1988, 87– 125; Heubeck and Hoekstra 1989, 75– 77; Sourvinou- Inwood 1995, 73– 89. 7 See Heubeck and Hoekstra 1989, 76– 77; for a consistent narrative structure, see also de Jong 2001, 272..
Recommended publications
  • THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
    Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music.
    [Show full text]
  • Book 10 – the Kingdom of the Dead Hades (1) God of the Dead, Ruler of the Underworld, Which Was Accordingly Known As Hades
    Book 10 – The Kingdom of the Dead Hades (1) God of the dead, ruler of the Underworld, which was accordingly known as Hades. In various adventures, Hades abducted the maiden Persephone, tricked the heroes Theseus and Peirithous and managed to get himself handcuffed by Sisyphus. The god Hades was a dread figure to the living, who were quite careful how they swore oaths in his name. To many people, simply to utter the word "Hades" was a frightening proposition. Realm of the dead, either underground or in the far West of the world known to the early Greeks - or both. Named for the god Hades, its ruler. Hades (2) As is not surprising, the ancient Greeks did not know what to expect after death. Notions of the afterlife were various and conflicting. Some thought that great heroes lucked out by traveling to the Elysian Fields, where they could hunt and feast and socialize in pleasant company for eternity, while commoners were consigned to a lifeless and boring abode in the Fields of Asphodel. First they'd drink the waters of Lethe, which caused them to lose all memory of their former lives and thus lack anything to talk about. In its earlier depictions, the underworld kingdom of Hades was such a dank and dark and moldering place that were it laid open to the heavens, the gods themselves would turn away in disgust. Persephone Beautiful daughter of Zeus and Demeter; sometimes considered an Olympian. While gathering flowers in a field one day, Persephone was abducted to the Underworld by Hades, who arose in his chariot from a fissure in the ground.
    [Show full text]
  • Katabasis in Eliot's the Waste Land
    “I had not thought death had undone so many”: Katabasis in Eliot’s The Waste Land Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Mastruserio The Ohio State University May 2018 Project Advisor: Professor Sebastian Knowles, Department of English 1 Introduction Of the many works referenced in Eliot’s The Waste Land, Dante’s Divine Comedy holds the most prominent position. Eliot’s dedication to Pound on the title page alludes to a line from Purgatorio, and Dante makes an appearance in every section of the poem, either by direct quote or veiled allusion. Such an association brings Dante’s journey through the Underworld to the forefront of the mind when reading The Waste Land, and provides one of the easiest avenues toward unpacking the poem’s density. But I propose that the poem’s exploration of the Underworld extends beyond a kinship to Dante and toward a deeper structural and thematic debt to the narrative of the katabasis, the descent into the Underworld. I suggest that the five parts of The Waste Land can be united via a traditional katabasis narrative, a narrative of metamorphosis and self-refinement. The katabasis is only one of the many classical and mythological structures Eliot employs throughout the poem. Already thoroughly explored in criticism are his use of the Grail legend1 and the burial and rebirth of a dying god figure. Less so is the appearance of the katabasis in the poem. The poem’s debt to Dante is obvious, but the presence of katabasis extends beyond Eliot quoting pieces of Inferno.
    [Show full text]
  • Travel As Hell: Exploring the Katabatic Structure of Travel Fiction Warwick Frost and Jennifer Laing
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Travel as Hell: Exploring the Katabatic Structure of Travel Fiction Warwick Frost and Jennifer Laing Introduction Literature contributes to and influences our imaginings of travel, both in a positive and negative sense. Many novels depict travel in terms of ‘hell,’ depicting journeys that are exhausting, dangerous, and nightmarish. This narrative can be explored using the concept of the katabasis. Drawn from Ancient Greek mythology, it literally means ‘the descent,’ and more generally a journey to hell and back. 1 The underworld is a ‘realm of death,’ where sacrifices are often demanded and the ‘other’ is encountered. 2 Where the traveller returns, they are usually irrevocably changed by the experience. Erling Holtsmark observes that the central motif of these sojourns is identity: “The journey is in some central, irreducible way a journey of self-discovery, a quest for a lost self.”3 Through suffering, the traveller learns what they are capable of and understands themselves more deeply. The reader also absorbs the lesson that while travel is not necessarily straight-forward or enjoyable, the difficult passages and twists are intrinsically rewarding and enlightening. The mythic concept of the katabasis has been applied more broadly to cover fictional journeys drawn from many cultures and across different forms of 4 media, including books and film. It also appears to apply across genres, Dr Warwick Frost is an Associate Professor in the Department of Marketing and Tourism and Hospitality at La Trobe University.
    [Show full text]
  • Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides.
    [Show full text]
  • Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
    https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]).
    [Show full text]
  • Greek and Roman Perceptions of the Afterlife in Homer's
    McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife.
    [Show full text]
  • Devising Descent Mime, Katabasis and Ritual in Theocritus' Idyll 15 Hans Jorgen Hansen a Thesis Submitted to the Faculty of Th
    Devising Descent Mime, Katabasis and Ritual in Theocritus’ Idyll 15 Hans Jorgen Hansen A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2010 Approved by: Dr. William H. Race Dr. Owen Goslin Dr. Werner Riess Abstract Hans Jorgen Hansen: Devising Descent: Mime, Katabasis and Ritual in Theocritus’ Idyll 15 (Under the direction of Dr. William H. Race) In this thesis I investigate the genres and structure of Theocritus’ fifteenth Idyll, as well as its katabatic and ritual themes. Though often considered an urban mime, only the first 43 lines exhibit the formal qualities of mime found in Herodas’ Mimiambi, the only other surviving corpus of Hellenistic mime. The counterpoint to the mimic first section is the Adonia that makes up the last section of the poem and amounts to an urban recasting of pastoral poetry. A polyphonic, katabatic journey bridges the mimic and pastoral sections and is composed of four encounters that correspond to ordeals found in ritual katabases. The structure of the poem is then tripartite, beginning in the profane world of the household mime, progressing through the liminal space of the streets and ending in the sacred world of the Adonia. This progression mirrors Theocritus’ evolution from Syracusan mimic poet to Alexandrian pastoral poet. ii Table of Contents Introduction 1 Chapter 1: Mime and Structure in the Adoniazusae 6 1.1: Introduction 6 1.2.1: The Formal Features of Herodas’ Poetry 12 1.2.2: Homophony and Herodas’ Fourth Mimiamb 21 1.3.1: Theocritus’ Household-Mime 26 1.3.2: The Streets of Alexandria and Theocritus’ Polyphonic Mime 32 1.4: Conclusion 41 Chapter 2: Katabasis and Ritual in the Adoniazusae 44 2.1: Introduction 44 2.2: The Katabatic Structure, Characters and Imagery of Theoc.
    [Show full text]
  • Either a Daimon, Or a Hero, Or Perhaps a God:” Mythical Residents of Subterranean Chambers
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 15 | 2002 Varia “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers Yulia Ustinova Electronic version URL: http://journals.openedition.org/kernos/1385 DOI: 10.4000/kernos.1385 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2002 ISSN: 0776-3824 Electronic reference Yulia Ustinova, « “Either a Daimon, or a Hero, or Perhaps a God:” Mythical Residents of Subterranean Chambers », Kernos [Online], 15 | 2002, Online since 21 April 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/1385 ; DOI : 10.4000/kernos.1385 Kernos Kemos 15 (2002), p. 267-288. "Either a Daimon, or a Hero, or Perhaps a God:" Mythical Residents of Subterranean Chambers In his list of seers who uttered gods' orders and messages to mortals not only when alive, but also after their death, Strabo1 mentions "...Amphiaraos, Trophonios, Orpheus, Musaios, and the god of the Getae, formerly Zalmoxis, a Pythagorean, who is in our time Dekaineos, the diviner of Byrebistas... ,,2 Aristides groups together Trophonios, Amphiaraos, Amphilochos and the Asclepiads.3 Celsus includes Zalmoxis, Mopsos, Amphilochos, Amphiaraos, and Trophonios in his register of mortals who died and were nevertheless worshiped, whieh makes Origen wonder, "whether one of these is either a daimon, or a hero, or perhaps a god, more active than mortals" (ft ècr'tt nç èv 'toîç 'tOtQU'tOlÇ Eï'tE 8atllcov Eï'tE llPcoÇ Eï'tE Kat 8E6ç, èVEPYéOv 't!Va lldÇova ft Ka'teX av8pco1tov;).4 The bewilderment of Origen 'is reasonable, given the elusiveness of these figures.
    [Show full text]
  • Steensenep Spreads.Pdf
    OPENINGS: INTO OUR VERTICAL COSMOS SASHA STEENSEN ESSAY PRESS EP SERIES #40 ESSAY PRESS EP SERIES CONTENTS In the Essay Press EP Series, we give extended space and time to some of our favorite authors currently developing new book-length projects. Introduction iv Series Editors Maria Anderson 1 ear-wise 5 Andy Fitch Ellen Fogelman 2 going to hell 11 Aimee Harrison Courtney Mandryk 3 from birth forward 19 Victoria A. Sanz 4 the black echo 34 Travis Sharp Ryan Spooner 5 the poem below 45 Randall Tyrone 6 oh, morning 57 Works Cited 62 Series Assistants Cristiana Baik Author Bio 66 Ryan Ikeda Christopher Liek Cover Image “Nautilus,” ink on paper, Courtney Mandryk Cover Design Courtney Mandryk Layout Aimee Harrison synonym for remedy, something that puts an end to an ailment. But it comes from the Latin cura, which simply means care. The body cares for itself, repairs itself, during sleep. I had to learn to care for a body that failed to make space for its own repair. When INTRODUCTION I couldn’t sleep, reading held a place open for me. I mostly lived there. During the day, I was less awake, and at night I was rapt in words, wrapped in a blanket of books. This essay is a record of that reading, of that care. here are secrets inside sleep. Each night we Tmeet them, but at daybreak they revert to secrets once again. The insomniac knows she is missing something other than sleep, but she can’t know what, exactly. I wrote this essay during a recent bout of insomnia that lasted a little over six months.
    [Show full text]
  • Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above.
    [Show full text]
  • Interpv31issue1 1 29 04 (Page 1)
    Volume 31 Issue 1 Interpretation, Inc. 11367-1597 U.S.A. Flushing, N.Y. Queens College 31/1 A JOURNAL OF POLITICAL PHILOSOPHY Interpretation Fall 2003 3 Ronald Hamowy Two Whig Views of the American Revolution: Adam Ferguson’s Response to Richard Price Discussion: 37 Patrick Coby Mind Your Own Business: The Trouble with Justice in Plato’s Republic 59 Sean Steel Katabasis in Plato’s Symposium Book Reviews: 85 Martin Yaffe The Beginning of Wisdom: Reading Genesis by Leon R. Kass 93 Mera Flaumenhaft Colloquial Hermeneutics: Eva Brann’s Odyssey 103 Wayne Ambler Our Attraction to Justice Devin Stauffer The Idea of Enlightenment: Hanover, PAHanover, 17331 109 Fall 2003 Fall U.S. POSTAGE U.S. POSTAGE Non-Profit Org. A Post-Mortem Study by Permit No. 4 Robert C. Bartlett PAID A JOURNAL OF POLITICAL PHILOSOPHY Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor Erik Dempsey General Editors Seth G. Benardete (d. 2001) • Charles E. Butterworth • Hilail Gildin • Leonard Grey • Robert Horwitz (d. 1978) • Howard B. White (d. 1974) Consulting Editors Christopher Bruell • Joseph Cropsey • Ernest L. Fortin (d. 2002) • John Hallowell (d. 1992) • Harry V. Jaffa • David Lowenthal • Muhsin Mahdi • Harvey C. Mansfield • Arnaldo Momigliano (d. 1987) • Michael Oakeshott (d. 1990) • Ellis Sandoz • Leo Strauss (d. 1973) • Kenneth W. Thompson International Editors Terence E. Marshall • Heinrich Meier Editors Wayne Ambler • Maurice Auerbach • Robert Bartlett • Fred Baumann • Amy Bonnette • Eric Buzzetti • Susan Collins • Patrick Coby • Elizabeth C’de Baca Eastman • Thomas S. Engeman • Edward J. Erler • Maureen Feder-Marcus • Pamela K. Jensen • Ken Masugi • Carol M.
    [Show full text]