Sacred Nights: Antinous in the Underworld

I don’t have any music to offer you today, not yet. Unfortunately, when I think of death, funerals, the afterlife, my musical associations come from my Anglo-Catholic background; I think of the traditional Requiem Mass texts, and of musical settings from Gregorian chant to Faure to compositions by my ex-husband and by a friend of ours. If I could, I would offer you my friend’s setting of the Offertory, inspired by traditional Irish music as well as plainsong; these words with his music echo in my mind:

libera animas omnium fidelium defunctorum
de poenis inferni
et de profundo lacu.
Libera eas de ore leonis
ne absorbeat eas tartarus,
ne cadant in obscurum;
Sed signifer sanctus Michael
repraesentet eas in lucem sanctam,

“Deliver the souls of all the faithful departed/ from the pains of hell/ and from the deep lake./ Deliver them from the lion’s mouth,/ let them not sink into Tartarus/ nor fall into obscurity,/ but let St. Michael the standard-bearer/ lead them into the holy light….”

I have been thinking a lot lately about the afterlife, and about the descriptions of our mortal fate across various cultures and traditions. What strikes me is that there is actually a certain amount of commonality, a broad pattern. In most traditions, the dead may go to a place of peace and happiness, or to a place of punishment for ill deeds, or to a place where they are forgotten. Dante, for example, gives us vividly the heavens and the empyrean Rose, the horrors of hell, and the noble but sterile peace of Limbo, where Virgil and the other virtuous pagans go. His purgatory leads on to the experience of heaven, and the dead there are not forgotten, though they fear to be; they continually bid him to pray for them and promise to pray for the living.

What has struck me recently, though, is the idea that in most traditions prior to Christianity, the destiny of most human beings is neither beatification nor punishment, but oblivion, forgetting and being forgotten. Without performing certain rites, the dead forget who they are and all they have known; without being honored by their descendants, they dry up and blow away like old leaves. The human being breaks down not just into body and soul, but a body composed of the elements and a soul of multiple parts. Some parts of the soul are re-absorbed into the cosmos; some reincarnate; some experience an afterlife in which the earthly ego and personal history may or may not be maintained.

It seems to be possible to control what one’s post-mortem fate will be, and not merely by choosing to act virtuously and eschew evil. The ancient Egyptians relied on the rites of mummification and the instructions of Coming Forth by Day, known to us now as the Egyptian Book of the Dead. Tibetan Buddhists have their own “Book of the Dead”, the Instructions for Hearing in the Bardo, as a guide for the ordinary practitioner; the advanced yogin becomes capable of choosing the place, time, and circumstances of rebirth, as do the Dalai Lama, the Karmapa, and the other tulkus.  For the Greeks, and to some extent the Romans (being influenced by the Greeks), death was oblivion for most. An exceptional person, a hero, might go to the Elysian fields; a person who had committed vile acts would be tormented in Tartaros. Someone who was neither, however, might escape the fate of forgetting by entering the Mysteries at Eleusis.

Antinous was an initiate at Eleusis, as was Hadrian. This day commemorates his passage into the land of the dead as one who had Seen, who had already met Persephone and was known to her. Yesterday’s sense of tragedy and loss is muted a little by our knowledge that he is not lost; he will not fall into shadows, nor sink into Tartaros, but the great caduceus-bearer Hermes will lead him to the Queen of the Underworld.

The words of the Offertory in the Roman Catholic Requiem are very old, probably older than the better-known Dies Irae and its fear of the last judgment. Michael the standard-bearer, the signifer, is perhaps not so different from Hermes the Psychopomp, leading souls with his caduceus. I hope to enter the Mysteries of Antinous, that after my death, I may be led into the presence of the Beautiful God, the Bithynian Boy, who will recognize me as one of his own, and I will neither forget nor be forgotten.


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Writer, musician, polytheist, and friend of birds. I like science fiction, fantasy, and superheroes a lot.

2 thoughts on “Sacred Nights: Antinous in the Underworld”

  1. Some of the hymnody is what I like best about Catholicism from a liturgical perspective…

    But, even further, with some slight adjustments, just pretty much change “Michael” to some other deity’s name–Hermes/Mercury, or even Antinous–and everything else still applies (including and especially the lion!).


    1. I have been a church singer off and on since I was about six years old. I still sound more like a boy soprano than anything else. I love church music, Roman Catholic, Anglican, Orthodox.

      Yes, Michael is the psychopomp in the very early texts; that changes to Gabriel later on. The Offertory is one of my favorite texts from the Requiem.


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