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. In some of the earliest Shinto texts, Susanoo is the god of the underworld. He was banished from heaven after offending both the creator god and his sister, the sun goddess. He descended to the underworld after a period of adventuring on Earth. He then became its master. The demonstration of Orpheus's power depends on the normal obduracy of Pluto; the Augustan poet Horace describes him as incapable of tears. [52] Claudian, however, portrays the steely god as succumbing to Orpheus's song so that "with iron cloak he wipes his tears" (ferrugineo lacrimas deterget amictu), an image renewed by Milton in Il Penseroso (106–107): "Such notes ... / Drew iron tears down Pluto's cheek." [53] 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). Ereshkigal was the Mesopotamian goddess of the underworld. There was no judgment or punishment under her rule, only equality. All souls under her dominion were equals, even other gods.

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Geoffrey Miles, Classical Mythology in English Literature: A Critical Anthology (Routledge, 1999), p. 54ff. 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] 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 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 ] The cypress (Greek cyparissus, Latin cupressus) has traditional associations with mourning. [115] In ancient Attica, households in mourning were garlanded with cypress, [116] and it was used to fumigate the air during cremations. [117] In the myth of Cyparissus, a youth was transformed into a cypress, consumed by grief over the accidental death of a pet stag. [118] A "white cypress" is part of the topography of the underworld that recurs in the Orphic gold tablets as a kind of beacon near the entrance, perhaps to be compared with the Tree of Life in various world mythologies. The description of the cypress as "white" (Greek leukē), since the botanical tree is dark, is symbolic, evoking the white garments worn by initiates or the clothing of a corpse, or the pallor of the dead. In Orphic funeral rites, it was forbidden to make coffins of cypress. [119]Fernando Navarro Antolin, Lygdamus: Corpus Tibullianum III.1–6, Lygdami Elegiarum Liber (Brill, 1996), pp. 145–146. See also: Planets in astrology §Pluto Etruscan Charun presiding over an execution Christianization [ edit ] Hart, George. "The Routledge Dictionary of Egyptian Gods and Goddesses," 2nd ed. London: Routledge, 2005. Print. Mot was the unloved Semitic god of death. He had no worshipers, leading some to speculate that the deity was likened to a force of nature. She was a vengeful goddess. At one point, she threatened to raise every soul under her thumb into the realm of the living—an army of the dead.

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Hyginus, Fabulae 146. The late-antique mythographer Fulgentius also names the ruler of the underworld as Pluto, a practice continued by medieval mythographers. Though modern links to Satan have painted a negative picture of Hades, he was not particularly malevolent. Though men feared to speak his name for fear of death, he was also called a good god for sending his wealth upward into the realm of the living. His Roman name, Pluto, came from his Greek title, Plouton, meaning “Lord of Riches.”

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The helmet Pluto receives is presumably the magical Cap of Invisibility (aidos kyneê), but the Bibliotheca is the only ancient source that explicitly says it belonged to Pluto. [127] The verbal play of aidos, "invisible," and Hades is thought to account for this attribution of the helmet to the ruler of the underworld, since no ancient narratives record his use or possession of it. Later authors such as Rabelais (16th century) do attribute the helmet to Pluto. [128] Erasmus calls it the "helmet of Orcus" [129] and gives it as a figure of speech referring to those who conceal their true nature by a cunning device. Francis Bacon notes the proverbial usage: "the helmet of Pluto, which maketh the politic man go invisible, is secrecy in the counsel, and celerity in the execution." [130] Bident [ edit ] Pluto (1588–89) with bident, chiaroscuro woodcut from a series on gods and goddesses by Hendrik Goltzius 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. 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:

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This cosmogony interprets Hesiod allegorically, and so the heaviest element is identified not as the Earth, but as the netherworld of Pluto. [165] (In modern geochemistry, plutonium is the heaviest primordial element.) Supposed etymologies are used to make sense of the relation of physical process to divine name; Plouton is here connected to plêthos (abundance). [166] But he simply smiled at me and brushed my hair away from my face with gentle fingers: "You are safe now.” Giovanni Casadio and Patricia A. Johnston, "Introduction", Mystic Cults in Magna Graecia (University of Texas Press, 2009), p. 21. 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 During the Roman Imperial era, the Greek geographer Strabo (1st century AD) makes a distinction between Pluto and Hades. In writing of the mineral wealth of ancient Iberia ( Roman Spain), he says that among the Turdetani, it is "Pluto, and not Hades, who inhabits the region down below." [18] In the discourse On Mourning by the Greek author Lucian (2nd century AD), Pluto's "wealth" is the dead he rules over in the abyss (chasma); the name Hades is reserved for the underworld itself. [19] Other identifications [ edit ]

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In my life as a waitress, I, Sephie - an ordinary person - endured the icy glares and insults of customers while trying to earn a living. I believed that this would be my fate forever. This ferry was rowed by Charon, the infernal boatman tasked with taking the souls of the dead to the Underworld proper. Only those who could pay the fare with coins (obols) placed on their eyes or under their tongue when buried, were granted passage; the rest remained trapped between two worlds. ( Aeneas was only able to enter the Underworld once his guide, the Cumaean Sybil showed Charon a golden bough, Aeneas’ gift for Persephone.) Cerberus

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Natale Conti observes ( Mythologiae 2.9, edition of 1651, p. 174) that before the abduction, Pluto was the only childless bachelor among the gods (solus omnium deorum coelibem et filiis carentem vitam traduceret). The nymph Minthē was the concubine ( pallakis, Strabo 8.3.14) of the ruler of the underworld under the name of Hades, but no ancient source records Pluto in this role; Conti, however, describes Minthē (Menthe) as the pellex of Pluto.However, this all changed at some stage, and according to later writers, the Underworld was divided into at least four different regions: Tartarus