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Hades and Cerberus, in Meyers Konversationslexikon, 1888. Hades, as the god of the dead, was a fearsome figure to those still living; in no hurry to meet him, they were reluctant to swear oaths in his name, and averted their faces when sacrificing to him. Since to many, simply to say the word "Hades" was frightening, euphemisms were pressed ...
In Greek mythology, the underworld or Hades (Ancient Greek: ᾍδης, romanized: Háidēs) is a distinct realm (one of the three realms that make up the cosmos) where an individual goes after death. The earliest idea of afterlife in Greek myth is that, at the moment of death, an individual's essence ( psyche ) is separated from the corpse and ...
In the Homeric Hymn to Demeter, Erebus is used to refer to Hades, the location in which the god Hades and his wife Persephone reside, [29] while in Euripides' play Orestes, it is where the goddess Nyx lives. [30] Later, in Roman literature, Ovid calls Proserpina the "queen of Erebus", [31] and other authors use Erebus as a name for Hades. [32]
This Macaria is attested in a single source, the 10th-century Byzantine encyclopedia Suda, according to which she is a daughter of Hades, the king of the Underworld; [3] no mother is mentioned. Nothing else is known about her, as she is neither explicitly stated to be an immortal goddess nor a mortal woman, nor confirmed to live in the ...
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Hades is again the name of the place, here described as "windless," and its gates, through which Pluto carried "pure Demeter's daughter" as his bride, are located in an Attic cave within the district of Eleusis. The route from Persephone's meadow to Hades crosses the sea. The hymn concludes: You alone were born to judge deeds obscure and ...
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An elegy is a poem of serious reflection, and in English literature usually a lament for the dead. However, according to The Oxford Handbook of the Elegy, "for all of its pervasiveness ... the 'elegy' remains remarkably ill defined: sometimes used as a catch-all to denominate texts of a somber or pessimistic tone, sometimes as a marker for textual monumentalizing, and sometimes strictly as a ...