>>Hollow are their eyes, their looks / Peering anxiously
>>Hollow are their eyes, their looks / Peering anxiously
>>Hollow are their eyes, their looks / Peering anxiously
>>Hollow are their eyes, their looks / Peering anxiously
Greek underworld
Residents
Aeacus
Angelos
Arae
Ascalaphus
Cerberus
Ceuthonymus
Charon
Erinyes
Eurynomos
Hades/Pluto
Hecate
Hypnos
Macaria
Melinoë
Menoetius
Minos
Moirai
Mormolykeia
Persephone
Rhadamanthus
Thanatos
(Ancient Greek: Κωκυτός, literally "lamentation") is the river of wailing in the underworld
The Wood of the Self-Murderers: The Harpies and the Suicides is a pencil, ink and watercolour on paper artwork by the English poet, painter and printmaker William Blake (1757–1827). It was completed between 1824 and 1827 and illustrates a passage from the Inferno of the Divine Comedy by Dante Alighieri (1265–1321).[1] The work is part of a series which was to be the last set of watercolours Blake worked on before his death in August 1827. It is held in the Tate Gallery, London.
Blake was commissioned in 1824 by his friend, the painter John Linnell (1792–1882), to create a series of illustrations based on Dante's poem. Blake was then in his late sixties, yet by legend drafted 100 watercolours on the subject "during a fortnight's illness in bed".[2] Few of them were actually coloured, and only seven gilded.[3] He sets this work in a scene from one of the circles of Hell depicted in the Inferno (Circle VII, Ring II, Canto XIII), in which Dante and the Roman poet Virgil (70–19 BCE) travel through a forest haunted by harpies—mythological winged and malign fat-bellied death-spirits who bear features of human heads and female breasts.
The harpies in Dante's version feed from the leaves of oak trees which entomb suicides. At the time Canto XIII (or The Wood of Suicides) was written, suicide was considered by the Catholic Church as at least equivalent to murder, and a contravention of the Commandment "Thou shalt not kill", and many theologians believed it to be an even deeper sin than murder, as it constituted a rejection of God's gift of life. Dante alludes to this by placing suicides in the seventh circle of Hell, where the violent are punished, alongside murderers, tyrants, blasphemers, sodomites and usurers.[4]
Dante describes a tortured forest infested with harpies, where the act of suicide is punished by encasing the offender in a tree, thus denying eternal life and damning the soul to an eternity as a member of the restless living dead, and prey to the harpies. Furthermore, the soul can only speak and grieve when its tree is broken or damaged as punishment for choosing suicide to express grief. Lastly, in another act of symbolic retribution, when each of the blessed and damned returns with his or her body from the Last Judgment, those damned for suicide will not re-inhibit their bodies but instead hang them on their branches, both because they denied them in their final act of life and as a reminder of what they denied themselves.[5] Blake's painting shows Dante and Virgil walking through a haunted forest at a moment when Dante has torn a twig from a bleeding tree, and then dropped it in shock on hearing the disembodied words, "Wherefore tear'st me thus? Is there no touch of mercy in thybewbs?".[1]
In Dante's poem, the tree contains the soul of Pietro della Vigna (1190–1249), an Italian jurist and diplomat, and chancellor and secretary to the Emperor Frederick II (1194–1250). Pietro was a learned man who rose to become a close advisor to the emperor. However, his success was envied by other members of Frederick II's court, and charges that he was wealthier than the emperor and was an agent of the pope were brought against him. Frederick threw Pietro in prison, and had his eyes ripped out. In retaliation, Pietro killed himself by beating his head against the dungeon wall. He is one of four named suicides mentioned in Canto XIII,[6] and represents the notion of a "heroic" suicide.[7]
Describing the scene, Dante wrote:
Here the repellent harpies make their nests,
Who drove the Trojans from the Strophades
With dire announcements of the coming woe.
They have broad wings, a human neck and face,
Clawed feet and swollen, feathered bellies; they caw
Their lamentations in the eerie trees.[5]
It is Hidalgo’s interpretation of damned souls journeying across the River Acheron towards the gates of hell or Hades.[1][2] The protagonist of the painting is the boatman of classical mythology named Charon,[1][2] who is depicted as the personification of the merciless harvester of condemned souls with "eyes of coal" glaring forebodingly from the shadows at the boarding commuters. Charon is presented at the right side of the canvas as a lone figure with a shroud. He was positioned in opposition to a red-colored sky. Charon’s facade is forbidding and obscured in the shadows and his oar is glinting like the rapier of a slayer. An offset on the left side of the image is the “diagonal disturbance” composed of plummeting and helpless unclothed bodies heading into Charon’s water vessel. The “diagonal movement” on the left-side of the painting is described to be subdued shades of pink and blue in “strong tension” with the right side of the work of art. This portion of the painting is the steady “solitary form” in black color going against the shimmering red backdrop. Measuring 80.65 cm x 108.59 cm, La barca de Aqueronte is a "companion piece" to Hidalgo’s other painting, La Laguna Estigia (The River Styx).[1][2][8]
La Laguna Estigia (The River Styx or The Styx), also known simply as Laguna Estigia,[1] is an 1887 Greco-Roman painting by Filipino painter Félix Resurrección Hidalgo. It is a companion-piece for Hidalgo’s other painting entitled La barca de Aqueronte. Like the La barca de Aqueronte, the La Laguna Estigia is based on Dante's Inferno, the painter pursuing the theme leading towards a “darker” and “more somber interpretation” of it.[2]
The painting was a silver medalist during the 1887 Exposicion General de las Islas Filipinas in Madrid, Spain.[3] La Laguna Estigia (The River Styx or The Styx), also known simply as Laguna Estigia,[1] is an 1887 Greco-Roman painting by Filipino painter Félix Resurrección Hidalgo. It is a companion-piece for Hidalgo’s other painting entitled La barca de Aqueronte. Like the La barca de Aqueronte, the La Laguna Estigia is based on Dante's Inferno, the painter pursuing the theme leading towards a “darker” and “more somber interpretation” of it.[2]
The painting was a silver medalist during the 1887 Exposicion General de las Islas Filipinas in Madrid, Spain.[3]
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