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The Harrowing of Hell was taught by theologians of the early church: St Melito of Sardis (died c. 180) in his Homily on the Passover and more explicitly in his Homily for Holy Saturday, Tertullian (A Treatise on the Soul, 55, though he himself disagrees with the idea), Hippolytus (Treatise on Christ and Anti-Christ), Origen (Against Celsus, 2: ...
Articles related to the Harrowing of Hell and its depictions. This is a term referring to the period of time between the Crucifixion of Jesus and his resurrection.In triumphant descent, Jesus brought salvation to the souls held captive there since the beginning of the world.
The Harrowing of Hell, Petites Heures, 14th-century illuminated manuscript for John, Duke of Berry. In multiple places in The Silmarillion and The Lord of the Rings, Tolkien echoes and in Robert Steed's words "creatively adapts" the medieval theme of the Harrowing of Hell.
The Harrowing of Hell is an eighth-century Latin work in fifty-five lines found in the Anglo-Saxon Book of Cerne (folios 98v–99v). It is probably a Northumbrian work, written in prose and verse, where the former serves either as a set of stage directions for a dramatic portrayal or as a series of narrations for explaining the poetry.
Dante's orderly hell is a representation of the structured universe created by God, one which forces its sinners to use "intelligence and understanding" to contemplate their purpose. [17] The nine-fold subdivision of hell is influenced by the Ptolemaic model of cosmology, which similarly divided the universe into nine concentric spheres. [18]
The Harrowing of Hell, Petites Heures, 14th-century illuminated manuscript for John, Duke of Berry. Robert Steed, in Mallorn, argues that Tolkien, in multiple places in The Silmarillion and The Lord of the Rings, echoes and "creatively adapts" the medieval theme of the Harrowing of Hell. The medieval tale holds that Christ spent the time ...
Play 33: The Harrowing of Hell; Play 34: Burial of Christ & Guarding of the Sepulchre; Play 35: The Harrowing of Hell, B; Christ's Appearance to Mary; Pilate Berates the Soldiers; Play 36: The Three Marys at the Tomb of Christ; Play 37: Christ's Appearance to Mary Magdalene; Play 38: Christ's Appearance to Cleophas, Luke, and Thomas
The text portrays Satan as a narrative character, giving him long monologues in the "Fall of Satan" and the "Harrowing of Hell", where he is seen as flawed, failing, angry, and confused. In combining another predominant theme (see Christ vs. Satan: Struggle for Identity), Satan confuses and lies about his own self-identity, with his demons ...