The idea of the Underworld is one that has existed for thousands of years and has been referenced in virtually every source of classical mythology. From Homer to Virgil, Greek and Roman literature has varying views on the nature of the Underworld and what it is comprised of. There are some key components of the Underworld that are common features in mythology. Examples of this include the Fields of Mourning which are referenced in Virgil’s Aeneid. These are portrayed as a land where souls who are grieving the loss of a loved one; “wander in paths unseen […] not even in death have they forgot their griefs of long ago”. It is here that Aeneas, the hero of this saga stumbles upon Dido, the Queen of Carthage, and his former lover. In fact, most of the people that Virgil describes to be contained within these fields are women, such as: Phaedra (the daughter of Minos), Procris (the eldest daughter of King Thespis), and Pasiphae (queen of Crete). Another place mentioned are the Asphodel Meadows, where Odysseus encounters Achilles in the Odyssey. Homer describes very little of this place, though it is believed to be “a realm of utter neutrality” where most souls end up after their deaths due to living mostly unremarkable lives. The fields are said to be covered in asphodel flowers which shortly after Homer’s time were described to be soft and untouched whilst Edith Hamilton, a renowned classicist who was born in 1867, believed that the souls were; “strange, pallid, ghostly flowers”. Such a contrast in image shows the various ideas surrounding the Underworld, partly caused by the lack of evidence regarding these descriptions, leaving writers free to create their own ideas.
There are also many instances of Greek and Roman heroes entering the Underworld that are referred to in Classical literature. A notable example of this is Hercules capturing Cerberus, the guardian of the Underworld. This is referred to in Virgil’s Aeneid in which he is described as binding him; “by force”, something that is criticised by Charon. Cerberus himself was presented as a formidable guardian, highlighted by the quote; “terrify the bloodless shades”, something that draws attention to his terrifying nature as a deterrent to those who try to enter the Underworld dishonourably. This image has remained relatively constant over the centuries, with the most recent Hercules film (2014) providing a chilling visual of this so-called villain. Despite this, the portrayal of Cerberus in the form of “fluffy” the guard dog in Harry Potter and the Philosopher’s Stone is more toned down, suggesting a less hostile imagining of the character as time progresses, something which deviates away from the original myths. In conclusion, there has been a gradual evolution of people, monsters, and places within the Underworld, yet the original ideas have remained relatively intact. This causes us to wonder: what will change in the years ahead?
Eleanor
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