The tradition of the mystery religions favors Pluton/Hades as a loving and faithful partner to Persephone, but one ancient myth that preserves a lover for him parallels the abduction and also has a vegetative aspect. [120] A Roman source says that Pluto fell in love with Leuca (Greek Leukē, "White"), the most beautiful of the nymphs, and abducted her to live with him in his realm. After the long span of her life came to its end, he memorialized their love by creating a white tree in the Elysian Fields. The tree was the white poplar (Greek leukē), the leaves of which are white on one side and dark on the other, representing the duality of upper and underworld. [121] A wreath of white poplar leaves was fashioned by Heracles to mark his ascent from the underworld, an aition for why it was worn by initiates [122] and by champion athletes participating in funeral games. [123] Like other plants associated with Pluto, white poplar was regarded as a contraceptive in antiquity. [124] The relation of this tree to the white cypress of the mysteries is debated. [125] The helmet of invisibility [ edit ]

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

Rembrandt, Abduction of Proserpina ( ca. 1631), painting influenced by Rubens (via the engraving of his student Pieter Soutman). [241] Rembrandt's leonine Pluto draws on Claudian's description of the god as like a ravening lion. [242] As the evening progresses, the bosses and their entourages arrive, including the arrogant and entitled sons of mafia bosses. Sephie finds their behavior distasteful but maintains her professionalism. She notes that the meeting tonight is significant because the high-ranking boss, referred to as the Lord King Boss, is in attendance—a rare occurrence. All the gods had been invited to a feast by their king. He could not travel to her abode, nor she to his, so a compromise was reached. Her portion of the feast would be taken to her by one of the goddess’s messengers. When he arrived, Nergal, the god of disease, failed to rise to greet him. 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. 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 ]Hesiod, Theogony 969–74; Apostolos N. Athanassakis, Hesiod. Theogony, Works and Days, Shield (Johns Hopkins University Press, 1983, 2004), p. 56. The ent Hansen, Classical Mythology, pp. 162 and 182, citing Homer, Iliad 9.158–159. Euphemism is a characteristic way of speaking of divine figures associated with the dead and the underworld; Joseph William Hewitt, "The Propitiation of Zeus," Harvard Studies in Classical Philology 19 (1908), p. 66, considers euphemism a form of propitiation. Geoffrey Miles, Classical Mythology in English Literature: A Critical Anthology (Routledge, 1999), p. 54ff. Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.

the King of the Underworld - Mythologian Hades, the King of the Underworld - Mythologian

Upon arriving at the restaurant, Sephie realizes her usual parking space is taken and grumbles about the change. She takes a moment to enjoy the scent of impending rain before entering the restaurant. It's the last Thursday of the month, which means all the crime bosses in the city gather there for a meeting. Then Saturn took Ops to wife. Titan, the elder brother, demanded the kingship for himself. Vesta their mother, with their sisters Ceres [Demeter] and Ops, persuaded Saturn not to give way to his brother in the matter. Titan was less good-looking than Saturn; for that reason, and also because he could see his mother and sisters working to have it so, he conceded the kingship to Saturn, and came to terms with him: if Saturn had a male child born to him, it would not be reared. This was done to secure reversion of the kingship to Titan's children. They then killed the first son that was born to Saturn. Next came twin children, Jupiter and Juno. Juno was given to Saturn to see while Jupiter was secretly removed and given to Vesta to be brought up without Saturn's knowledge. In the same way without Saturn knowing, Ops bore Neptune and hid him away. In her third labor Ops bore another set of twins, Pluto and Glauce. (Pluto in Latin is Dis pater; [156] some call him Orcus.) Saturn was shown his daughter Glauce but his son Pluto was hidden and removed. Glauce then died young. That is the pedigree, as written, of Jupiter and his brothers; that is how it has been passed down to us in holy scripture.

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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. Odyssey 5.125–128: And so it was when Demeter of the lovely hair, yielding / to her desire, lay down with Iasion and loved him / in a thrice-turned field (translation of Richmond Lattimore).

KING OF THE UNDERWORLD (Earthbound Book 1) - Goodreads KING OF THE UNDERWORLD (Earthbound Book 1) - Goodreads

In the Middle Ages, classical underworld figures began to be depicted with a pitchfork. [136] Early Christian writers had identified the classical underworld with Hell, and its denizens as demons or devils. [137] In the Renaissance, the bident became a conventional attribute of Pluto. In an influential ceiling mural depicting the wedding of Cupid and Psyche, painted by Raphael's workshop for the Villa Farnesina in 1517, Pluto is shown holding the bident, with Cerberus at his side, while Neptune holds the trident. [138] Perhaps influenced by this work, Agostino Carracci originally depicted Pluto with a bident in a preparatory drawing for his painting Pluto (1592), in which the god ended up holding his characteristic key. [139] In Caravaggio's Giove, Nettuno e Plutone (ca. 1597), a ceiling mural based on alchemical allegory, it is Neptune who holds the bident. [140] In Greek literature and philosophy [ edit ] Persephone and Pluto [141] or Hades [142] on a pinax from Locri Tsagalis, Inscribing Sorrow, pp. 101–102; Morrow, Plato's Cretan City, pp. 452–453; John J. Hermann, Jr., "Demeter-Isis or the Egyptian Demeter? A Graeco-Roman Sculpture from an Egyptian Workshop in Boston" in Jahrbuch des Deutschen Archäologischen Instituts 114 (1999), p. 88. Long, The Twelve Gods, p. 179. See lectisternium for the "strewing of couches" in ancient Rome. Two inscriptions from Attica record the names of individuals who participated in the ritual at different times: IG II 21933 and 1934, as cited by Robert Develin, Athenian Officials, 684–321 B.C. (Cambridge University Press, 1989, 2003), p. 417. The Renaissance mythographer Natale Conti says wreaths of narcissus, maidenhair fern (adianthus), and cypress were given to Pluto. [104] In the Homeric Hymn to Demeter, Gaia (Earth) produced the narcissus at Zeus's request as a snare for Persephone; when she grasps it, a chasm opens up and the "Host to Many" (Hades) seizes her. [105] Narcissus wreaths were used in early times to crown Demeter and Persephone, as well as the Furies ( Eumenides). [106] The flower was associated with narcotic drugginess ( narkê, "torpor"), [107] erotic fascination, [108] and imminent death; [109] to dream of crowning oneself with narcissus was a bad sign. [110] In the myth of Narcissus, the flower is created when a beautiful, self-absorbed youth rejects sexuality and is condemned to perpetual self-love along the Styx. [111] Plutarch, De Iside 27 (361e): "In fact, men assert that Pluto is none other than Serapis and that Persephone is Isis, even as Archemachus of Euboea has said, and also Heracleides Ponticus who holds the oracle in Canopus to be an oracle of Pluto" ( Loeb Classical Library translation of 1936, LacusCurtius edition). Also spelled Sarapis. See Jaime Alvar, Romanising Oriental Gods: Myth, Salvation, and Ethics in the Cults of Cybele, Isis, and Mithras, translated by Richard Gordon (Brill, 2008), pp. 53 online and 58; Hermann, "Demeter-Isis or the Egyptian Demeter?", p. 84.Charlotte R. Long, The Twelve Gods of Greece and Rome (Brill, 1987), p. 179; Phyllis Fray Bober, "Cernunnos: Origin and Transformation of a Celtic Divinity," American Journal of Archaeology 55 (1951), p. 28, examples in Greek and Roman art in note 98; Hewitt, "The Propitiation of Zeus," p. 65. Pluto Latine est Dis pater, alii Orcum vocant ("In Latin, Pluto is Dis Pater; others call him Orcus"): Ennius, Euhemerus frg. 7 in the edition of Vahlen = Var. 78 = E.H. Warmington, Remains of Old Latin (Heinemann, 1940), vol. 1, p. 421. The Augustan poet Horace retains the Greek accusative form of the noun ( Plutona instead of Latin Plutonem) at Carmen 2.14.7, as noted by John Conington, P. Vergili Maronis Opera (London, 1883), vol. 3, p. 36. Authors tell the fable that Ceres was Proserpina's mother, and that Proserpina while playing one day was kidnapped by Pluto. Her mother searched for her with lighted torches; and it was decreed by Jupiter that the mother should have her daughter for fifteen days in the month, but Pluto for the rest, the other fifteen. This is nothing but that the name Ceres is used to mean the earth, called Ceres on analogy with crees ('you may create'), for all things are created from her. By Proserpina is meant the moon, and her name is on analogy with prope serpens ('creeping near'), for she is moved nearer to the earth than the other planets. She is called earth's daughter, because her substance has more of earth in it than of the other elements. By Pluto is meant the shadow that sometimes obstructs the moon. [171] Plouton Helios [ edit ] Jupiter, Neptune, and Pluto, ceiling mural ( ca. 1597) by Caravaggio (see description under Fine art below) Noel Robertson, Religion and Reconciliation in Greek Cities: The Sacred Laws of Selinus and Cyrene (Oxford University Press, 2010), p. 102, citing passages from the Orphic Hymns, throughout which Plouton is the ruler of the underworld, and Hades is the name of the place itself.