This chapter provides an account of epic katabases (journeys to the Underworld) and treats the Underworld as both a theme and a location in early hexameter poetry. Sekita presents an overview of Underworld scenes and motifs featuring in Homer and Hesiod, and as reconstructed in the Epic Cycle and other epic poets. She also summarises the main scholarly achievements and developments regarding the possible interpretations of this material, including its reception in the iconography of Attic and Apulian vase-painting and place in the broader Mediterranean tradition.

Socrates provides here an eschatological account that is thoroughly integrated into a novel cosmology. I argue that the Phaedo’s cosmology draws on and reflects the account of forms and ordinary objects that Socrates presented over the course of the Phaedo. The result is a distinctly Platonic account of the cosmos and the afterlife, one that treats the best parts of the cosmos as form-like and the worst parts as the source of flux. How we live now determines whether after death we will live in a more form-like or flux-like area; this dwelling, in turn, determines whether our souls are benefited or harmed in the afterlife. Since Socrates does not suggest in the Phaedo that any god is responsible for the cosmos, I argue that he avoids needing to explain why our souls can be harmed in the afterlife. In the secondary literature, this section of the dialogue is universally called “the myth,” which has led to treating the entirety of his account as having the same epistemic status. I argue instead that the account has five distinct stages, only the fifth of which Socrates calls a “myth” (muthos).

The Eumenides contains one of the earliest descriptions anywhere of Hades as a universal judge. The Erinyes threaten Orestes with a continuation of his punishment after death by “the great assessor of mortals beneath the earth.” This passage contains the first extant catalogue of Hades’ ethical concerns: he is said to punish human–divine, parent–child, and guest–host transgressions. Although he “sees all things,” the name Hades derives from a-idein, literally the “unseen,” a moniker that exemplifies the human inability to confront this nonpolitical, absolute judge. By differentiating Hades from the Erinyes, this chapter draws out the dynamics of his character and ethical law. Like them, Hades’ connection with blood and punishment entails pollution, but unlike them, he is never subordinated to Athens. The analysis then contrasts Hades’ law to the “new law” that Athena creates. It argues that Hades represents an alternate, yet still valid ethical code that can be used to critique the jingoistic and bellicose politics of the trilogy’s ending.

The introduction provides necessary background on Ancient Greek religious and literary ideas about the afterlife, methods for analyzing ethics in literature that several of the chapters will challenge, a working definition of tragic poetics, and historical context and preliminary definitions relevant for political structures and themes in the Oresteia.

This study examines the evidence for the celestial afterlife in Greek philosophy before Plato. Starting from Plato’s Phaedo myth, where we find evidence for three levels of life for souls (our level, the ‘aithêr-dwellers’ above us, and, above that, a more mysterious third level), it argues that such a stratified cosmos was not original to Plato, but can be found in certain of his predecessors. The two best-documented instances of it occur in Heraclitus and the new, Strasbourg papyrus of Empedocles. Both thinkers, in attempting to frame the place of soul in the order of nature, also adopt a stratified, hierarchical cosmic scheme, with rewards and demotions along the vertical axis. But they also thereby take up positions on the nature of soul: What stuff is it made of? Is it (essentially) immortal or not? And if not, can its immortality be secured? Against Plato’s later doctrine of an essentially immortal soul, both conceive of soul as somehow physical and, for different reasons, appear to deny its full or essential immortality.

The Homeric epics present a pastiche of idea concerning what faces us after death that often conflict with one another. However, the dominant model offered in both the Iliad and the Odyssey is that death is the shared fate of all people, and that after our deaths our souls fly down to the Underworld, where they suffer a miserable existence, stripped of all things that made life worth living.