Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often personified in male form,[ citation needed ] although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, Dhumavati in Hinduism, or La Catrina in Mexico).
Personification is an anthropomorphic metaphor in which a thing or abstraction is represented as a person. The type of personification discussed here excludes passing literary effects such as "Shadows hold their breath", and covers cases where a personification appears as a character in literature, or a human figure in art. The technical term for this, since ancient Greece, is prosopopoeia. In the arts many things are commonly personified. These include numerous types of places, especially cities, countries and the four continents, elements of the natural world such as the months or Four Seasons, Four Elements, Four Winds, Five Senses, and abstractions such as virtues, especially the four cardinal virtues and sins, the nine Muses, or death.
Psychopomps are creatures, spirits, angels, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Their role is not to judge the deceased, but simply to guide them. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, owls, sparrows and cuckoos. When seen as birds, they are often seen in huge masses, waiting outside the home of the dying.
The afterlife is the belief that the essential part of an individual's identity or the stream of consciousness continues after the death of the physical body. According to various ideas about the afterlife, the essential aspect of the individual that lives on after death may be some partial element, or the entire soul or spirit, of an individual, which carries with it and may confer personal identity or, on the contrary, may not, as in Indian nirvana. Belief in an afterlife is in contrast to the belief in oblivion after death.
The Canaanites of the 12th- and 13th-century Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.
The Ugaritic texts are a corpus of ancient cuneiform texts discovered since 1928 in Ugarit and Ras Ibn Hani in Syria, and written in Ugaritic, an otherwise unknown Northwest Semitic language. Approximately 1,500 texts and fragments have been found to date. The texts were written in the 13th and 12th centuries BCE.
In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the boatman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[ citation needed ] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments.
Ancient Greek religion encompasses the collection of beliefs, rituals, and mythology originating in ancient Greece in the form of both popular public religion and cult practices. These groups varied enough for it to be possible to speak of Greek religions or "cults" in the plural, though most of them shared similarities.
Greek mythology is the body of myths originally told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities, heroes, and mythological creatures, and the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, and to gain understanding of the nature of myth-making itself.
In Greek mythology, Thanatos was the personification of death. He was a minor figure in Greek mythology, often referred to but rarely appearing in person.
In Breton folklore, a spectral figure called the Ankou (yr Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.
The Bretons are a Celtic ethnic group native to historical region Brittany. They trace much of their heritage to groups of Brittonic speakers who emigrated from southwestern Great Britain, particularly Cornwall and Devon, mostly during the Anglo-Saxon invasion of Britain. They migrated in waves from the 3rd to 9th century into Armorica, which was subsequently named Brittany after them.
Ankou is a personification of death in Breton mythology as well as in Cornish, Welsh and Norman French folklore.
Welsh is a Brittonic language of the Celtic language family. It is spoken natively in Wales, by some in England, and in Y Wladfa. Historically, it has also been known in English as 'British', 'Cambrian', 'Cambric' and 'Cymric'.
Irish mythology features a similar creature known as a dullahan, whose head would be tucked under his or her arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die.
The Dullahan, is a type of fairy in Irish mythology.
Gaelic lore also involves is a female spirit known as Banshee (Gaelic: ban sibh pron. banshee, white spirit/fairy), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail."
Spirit is the vital principle or animating force within all living things. As far back as 1884, both William Harvey and René Descartes speculated that somewhere within the body, in a special locality, there was a ‘vital spirit’ or 'vital force', which animated the whole bodily frame, such as the engine in a factory moves the machinery in it. Primitive persons have been said to feel the influence of a spirit as something supernatural or dangerous, and are greatly relieved when the spirit is banished, or expelled.. Spirit has frequently been conceived of as a supernatural being, or non-physical entity; for example, a demon, ghost, fairy, or angel.
A banshee is a female spirit in Irish mythology who heralds the death of a family member, usually by wailing, shrieking, or keening. Her name is connected to the mythologically important tumuli or "mounds" that dot the Irish countryside, which are known as síde in Old Irish.
In folklore, a ghost is the soul or spirit of a dead person or animal that can appear to the living. In ghostlore, descriptions of ghosts vary widely from an invisible presence to translucent or barely visible wispy shapes, to realistic, lifelike forms. The deliberate attempt to contact the spirit of a deceased person is known as necromancy, or in spiritism as a séance.
In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories.
In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the wild hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Melwas, Arawn or Afallach in a similar position.
La Calavera Catrina is a character in Mexican culture and art that symbolizes death. She is an icon of the Mexican Day of the Dead, a holiday that focuses on the remembrance of the dead.
Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose faith has been spreading in Mexico and the United States. In Spanish the word "muerte" (death in English) is a female noun, so it is common in Spanish-speaking countries for death to be personified as female figures. This also happens in other Romanic languages like French ("la mort"), Portuguese ("a morte"), Italian ("la morte") and Romanian ("moartea"). Since the pre-Columbian era Mexican culture has maintained a certain reverence towards death, which can be seen in the widespread commemoration of the Day of the Dead. Elements of that celebration include the use of skeletons to remind people of their mortality. The cult of Santa Muerte is indeed a continuation of the Aztec cult of the goddess of death Mictecacihuatl (Nahuatl for "Lady of the Dead") clad in Spanish iconography.
In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (Mictlancihuatl), the underworld, ruling over the afterlife with Mictlantecuhtli, another deity who is designated as her husband. Her role is to keep watch over the bones of the dead. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions. She is said now to preside over the contemporary festival as well. She is known as the "Lady of the Dead" since it is believed that she was born, then sacrificed as an infant. Mictecacihuatl was represented with a defleshed body and with jaw agape to swallow the stars during the day.
San La Muerte (Saint Death) is a skeletal folk saint that is venerated in Paraguay, the Northeast of Argentina and southern Brazil. As the result of internal migration in Argentina since the 1960s the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected to and powers ascribed to San La Muerte are very similar to those of Santa Muerte.
In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard". He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases.
In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death, and also the cure. The image of the death is also associated with Exu, lord of the crossroads, who rules the midnight and the cemeteries.
In Haitian Vodou, the Guédé are a family of spirits that embody death and fertility.
In Poland, Death, or Śmierć, has an appearance similar to the traditional Grim Reaper, but instead of a black robe, Death has a white robe. Also, due to grammar, Death is a female (the word śmierć is of feminine gender), mostly seen as an old skeletal woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum").
In Serbia and other Slavic countries, Grim Reaper is well known as Smrt ("Death") or Kosač ("Billhook"), Slavic people found this very similar to the Devil and other dark powers. One popular saying about the Grim Reaper is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" - which means she is destiny.)[ original research? ]
In the Netherlands, but also to lesser extent in Belgium, the personification of Death is known as Magere Hein ("Meager Hein") or Pietje de Dood ("Peter the Death").Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).
The concept of Magere Hein was pre-Christian and tied to Pagan beliefs, but it was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein". Notable is that many of the names given to Death can also refer to the Devil, showing how his status as a feared and "evil" being led to him being merged into the concept of Satan.
In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death".As with some of the Dutch names, it can also refer to the Devil.
In Scandinavia, in Norse mythology death was personified in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag". She wore a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.
Later, Scandinavians adopted the classic Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's film The Seventh Seal features one of the world's most famous representations of this personification of Death. [ citation needed ]
Lithuanians named Death Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty and communicative until she was trapped in a coffin for seven years. The goddess of death was a sister of the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end.
Lithuanians later adopted the classic Grim Reaper with a scythe and black robe.
The Sanskrit word for death is mrityu (cognate with Latin mors and Polish śmierć), which is often personified in Dharmic religions.
In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rājā). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. (Yudhishthira, eldest of the pandavas and a personification of justice, was born through Kunti's prayers to Yama.) Yama rides a black buffalo and carries a rope lasso to carry the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul has to reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman.
Buddhist scriptures also mention Mara, much in the similar way.
Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan ( t 閻 王 , s 阎 王 , p Yánwáng) or Yanluo ( t 閻羅 王 , s 阎罗 王 , p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma ( 閻魔 大 王 , Enma-Dai-Ō), ruler of Jigoku ( 地獄 ); Korea as the Great King Yŏmna ( 염라 대 왕 ), ruler of Jiok ( 지옥 ); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ
Separately, the Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promises she will take a thousand lives every day, becoming a goddess of death. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology.
In Korean mythology, the equivalent of the Grim Reaper is the "Netherworld Emissary" Jeoseung-saja ( 저승사자 ). He is depicted as a stern and ruthless bureaucrat in Yŏmna's service. A psychopomp, he escorts all—good or evil—from the land of the living to the netherworld when the time comes.
According to legend, his name is Ganglim, and he is also the saja of King Yama, the master of the underworld.
The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well. 64–65:
Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.
In Hebrew scriptures, Death ("Maweth/Mavet(h)") is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom Yahweh can turn over Judah as punishment for worshiping other gods. The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected. While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.
According to the Midrash, the Angel of Death was created by God on the first day.His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one. He has twelve wings. "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law." It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow. The expression "the taste of death" originated in the idea that death was caused by a drop of gall.
The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin.
A peculiar mantle ("idra"-according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (The beggar should receive Tzedakah.)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast."
Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a).
The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he was absolved from his oath; if not absolved, he was to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.).
The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.).
By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages ( Jew. Quart. Rev. vi. 336).
Death is also one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation. Revelation 6:7–8
In Islam, Archangel Azrail is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster.
Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue. The time period or stage between death and resurrection is called barzakh (the interregnum).
Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds. And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God.
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Deimos is the god of terror in Greek mythology. He was a son of Ares and Aphrodite, and the twin brother of Phobos; Deimos served to represent the feelings of dread that befell those in the midst of battle, while Phobos personified feelings of fear and panic. Like Phobos, Deimos served as one of Ares’ attendants, and the two of them would often accompany their father as he rode into battle in his chariot, alongside Enyo, goddess of war and bloodshed, and Eris, goddess of strife. Deimos, the smaller of Mars’ two moons, is named after this mythological figure. The god’s Roman equivalent was Formido or Metus.
In Greek mythology, dreams were sometimes personified as Oneiros (Dream) or Oneiroi (Dreams). In the Iliad of Homer, Zeus sends an Oneiros to appear to Agamemnon in a dream, while in Hesiod's Theogony, the Oneiroi are the sons of Nyx (Night), and brothers of Hypnos (Sleep).
In Greek mythology, the Keres (Κῆρες), singular Ker (Κήρ), were female death-spirits. They were the goddesses who personified violent death and who were drawn to bloody deaths on battle fields. The Keres were daughters of Nyx, and as such the sisters of beings such as Moirai, who controlled the fate of souls and Thanatos, the god of peaceful death. Some later authorities, such as Cicero, called them by a Latin name, Tenebrae "the Darknesses", and named them daughters of Erebus and Nyx.
In Greek mythology, Moros or Morus is the being of impending doom, who drives mortals to their deadly fate.
Yama or Yamarāja is a god of death, the south direction, and the underworld, belonging to an early stratum of Rigvedic Hindu deities. In Sanskrit, his name can be interpreted to mean "twin". In the Zend-Avesta of Zoroastrianism, he is called "Yima".
Samael is an archangel in Talmudic and post-Talmudic lore, a figure who is the accuser (Ha-Satan), seducer, and destroyer (Mashhit). Although many functions usually associated with Samael resemble the Christian notion of Satan, he is not necessarily evil, since his functions are also regarded as causing good, such as destroying the sinners.
Angel of Death may refer to:
Namtar, was a chthonic minor deity in Mesopotamian mythology, god of death, and minister and messenger of An, Ereshkigal, and Nergal.
Azrael is the Angel of Death in Islam and some Jewish traditions. The Hebrew name translates to "Angel of God", "Help from God". Azrael is the spelling of the Chambers Dictionary. Both in Islam and Judaism, he is said to hold a scroll concerning the fate of the mortals. In Islam, he is one of the four archangels and is identified with the Quranic Malak al-Mawt "angel of death" which corresponds with Hebrew term malach ha-maweth in Rabbinic Literature. The Arabic language adapts the name as ʿAzrāʾīl (عزرائيل). He is responsible for transporting the souls of the deceased after death. In comparation to similar concepts of angels of death, Azrael holds a rather benevolent role as the angel of death.
Dead Like Me is an American comedy-drama television series starring Ellen Muth and Mandy Patinkin as grim reapers who reside and work in Seattle, Washington. Filmed in Vancouver, British Columbia, the show was created by Bryan Fuller for the Showtime cable network, where it ran for two seasons (2003–04). Fuller left the show five episodes into Season 1 because of creative differences; creative direction was taken over by executive producers John Masius and Stephen Godchaux. A direct-to-DVD film titled Dead Like Me: Life After Death was released on February 17, 2009, with an option to restart the series.
Death is a fictional character in Terry Pratchett's Discworld series and a parody of several other personifications of death. Like most Grim Reapers, he is a black-robed skeleton usually carrying a scythe. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. He has been generally used by Pratchett to explore the problems of human existence, and has become more sympathetic throughout the series.
Grim Reaper is a fictional character, a supervillain appearing in American comic books published by Marvel Comics. He is also the brother of Wonder Man.
In ancient Roman myth and literature, Mors is the personification of death equivalent to the Greek Thánatos and the Mara. The Latin noun for "death", mors, genitive mortis, is of feminine gender, but surviving ancient Roman art is not known to depict Death as a woman. Latin poets, however, are bound by the grammatical gender of the word. Horace writes of pallida Mors, "pale Death," who kicks her way into the hovels of the poor and the towers of kings equally. Seneca, for whom Mors is also pale, describes her "eager teeth." Tibullus pictures Mors as black or dark.
Midrash Petirat Moshe or Midrash on the Death of Moses is one of the smaller midrashim. This midrash describes in great detail the last acts of Moses and his death, at which the angels and God were present. There are several recensions of it, dating to between 7th and 11th centuries. The first, published at Constantinople in 1516 begins with a brief exegesis by R. Samuel Naḥmani and R. Tanhuma of the first verse of the pericope "V'Zot HaBerachah", closing with its last verses, and doubtless intended for Simhat Torah.
Allusions in rabbinic literature to the biblical character Moses, who led the people of Israel out of Egypt and through their wanderings in the wilderness, contain various expansions, elaborations and inferences beyond what is presented in the text of the Bible itself.
Allusions in rabbinic literature to the Biblical figure Adam, created according to the Book of Genesis by God in the Garden of Eden as the first man, expand and elaborate and draw inferences from what is presented in the text of the Bible itself.
Grim Reapers MC is an independent US-based motorcycle club founded during 1965 in Louisville, Kentucky