Otherworld

Source: Wikipedia, the free encyclopedia.

For other uses, see Otherworld (disambiguation).

In historical

Indo-European religion, the concept of an otherworld, also known as an otherside, is reconstructed in comparative mythology. Its name is a calque of orbis alius (Latin for "other world/side"), a term used by Lucan in his description of the Celtic Otherworld
.

Comparable

realm of the dead, are found in cultures throughout the world.[1] Spirits are thought to travel between worlds or layers of existence in such traditions, usually along an axis such as a giant tree, a tent pole, a river, a rope or mountains.[1][2][3]

Indo-European reconstruction

Many

Indo-European *ḱerberos meaning "spotted".[3] In Indo-European mythologies the Otherworld is depicted in many ways, including peaceful meadows, islands, or buildings, making it hard to determine how the original Proto-Indo-European Otherworld was viewed.[3] The ruler of the dead was possibly Yemo, the divine twin of Manu, the first man.[4][5]

Persian

See also:
Chinvat

The Chinvat Bridge (Avestan Cinvatô Peretûm, "bridge of judgement" or "beam-shaped bridge") or the Bridge of the Requiter in Zoroastrianism is the sifting bridge which separates the world of the living from the world of the dead. All souls must cross the bridge upon death. The bridge is guarded by two four-eyed dogs. A similar myth is that of

Yama, the ruler of Hell in Hindu mythology, who watches the gates of underworld with his two four-eyed dogs
.

Celtic

See also: Celtic Otherworld

The Irish Otherworld is more usually described as a paradisal fairyland than a frightening place.[6] Many Celtic Immrams or "voyage stories" and other medieval texts provide evidence of a Celtic belief in an otherworld. One example which helps the reader understand the Celtic concept of the otherworld is The Voyage of Saint Brendan. Another Classic example of a Celtic "otherworld" is the Voyage of Bran. The Otherworld is often portrayed as an island to the west in the Ocean in Celtic oral tradition, and even shown on some maps of Ireland during the medieval era.[7]

The otherworld in the idea of Celtic people became hard to distinguish and sometimes overlapped with the Christian idea of hell or heaven as this was often an analogy made to the Celtic idea of an otherworld or Scandinavian idea of a world tree. This is likely because of

Midgard Serpent. Red and white are the colors of animals in the Celtic Otherworld,[9]
and these colors still animate transcendent religious and political symbols today.

Germanic

See also:
Vanaheim, and Norse cosmology

As was the case in the Celtic mythologies, in Germanic myths apples were particularly associated with the Otherworld.[4] In the Scandinavian tradition mythological localities are featured, as in Irish mythology; however, unlike Irish mythology, an attempt was made to map the localities of the Otherworld rather than list locales associated with it.[2] In the Edda many locations are named including the dwellings of the gods such as Odin's hall of Valhalla or Ullr's dwelling of Ydalar ("Yewdale").[2] The Gylfaginning and the later Norwegian poem the Draumkvaede feature travels into the Otherworld.[2]

Slavic

See also:
Vyraj

The

Baptism of Poland), a new version of this belief became widespread in which there were two of these realms - one analogous to the original myth, a heavenly place where birds departed, and the other an underworld for snakes and zmeys, often associated with the Christian idea of hell.[13][12][14]

Greek

See also:
Greek Underworld, Hades, and Fortunate Isles

In Greco-Roman mythology the Gods were said to dwell on Mount Olympus whereas the dead usually went to the Underworld or Fortunate Isles after death.

Modern depictions

The idea of the Otherworld has been adapted and used by several modern authors. J. R. R. Tolkien drew upon the Sir Orfeo text, which depicts a journey to the Otherworld as inspiration for the Mirkwood Elves of The Hobbit.[15] C. S. Lewis also drew upon the tropes of the Celtic Otherworld in his creation of The Chronicles of Narnia, which depicts the journey from this world to another.

References

  1. ^
    ISBN 978-0-7614-7559-0
    . Pp. 1286-1287
  2. ^
    ISBN 978-0-203-40850-6
    . pp.67-76
  3. ^ a b c d e Mallory & Adams 2006, p. 439.
  4. ^ a b Lincoln 1991, pp. 32–38.
  5. ^ Jackson 2002, p. 81.
  6. ^ Lincoln 1991, p. 34.
  7. ^ In J. J. C. Smart, Philip Pettit, Richard Sylvan & Jean Norman (eds.), Metaphysics and Morality: Essays in Honour of J.J.C. Smart. B. Blackwell (1987)
  8. ^ Dreams and Visions in the Anglo-Saxon Conversion to Christianity. Davis, Patricia M. Dreaming, Vol 15(2), Jun 2005, 75-88. https://dx.doi.org/10.1037/1053-0797.15.2.75
  9. ISBN 978-0-520-25396-4
    . Page 35.
  10. ISBN 9785882003561
    . Retrieved 23 August 2014.
  11. ^
    ISBN 978-83-207-1629-0
    .
  12. ^
    ISBN 978-83-7318-205-9
    .
  13. ISBN 9785457607705
    .
  14. ISBN 9785457607705
    . Retrieved 23 August 2014.
  15. ^ Andoni Cossio (2021) Sir Orfeo as the Source for the Medieval Romance Topoi of Abduction and Otherworld Rampant within The Hobbit’s Mirkwood, ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, DOI: 10.1080/0895769X.2021.1967105

Bibliography

Andoni Cossio (2021) Sir Orfeo as the Source for the Medieval Romance Topoi of Abduction and Otherworld Rampant within The Hobbit’s Mirkwood, ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, DOI: 10.1080/0895769X.2021.1967105

External links
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