page_title: Charon's obol
section_title: In literature
hierarchical_section_title: Charon's obol / In literature
caption_attribution_description: English: Line drawing based on Greek lekythos, depicting Charon receiving the soul of a child. A woman, possibly the mother, carries a goose. In the background is a box presumed to contain grave offerings. Original lekythos described by Arthur Fairbanks, Athenian Lekythoi with Outline Drawing in Matt Color on a White Ground (Macmillan, 1914), p. 85 online.
context_page_description: Charon's obol is an allusive term for the coin placed in or on the mouth of a dead person before burial. Greek and Latin literary sources specify the coin as an obol, and explain it as a payment or bribe for Charon, the ferryman who conveyed souls across the river that divided the world of the living from the world of the dead. Archaeological examples of these coins, of various denominations in practice, have been called "the most famous grave goods from antiquity."
  The custom is primarily associated with the ancient Greeks and Romans, though it is also found in the ancient Near East. In Western Europe, a similar usage of coins in burials occurs in regions inhabited by Celts of the Gallo-Roman, Hispano-Roman and Romano-British cultures, and among the Germanic peoples of late antiquity and the early Christian era, with sporadic examples into the early 20th century.
  Although archaeology shows that the myth reflects an actual custom, the placement of coins with the dead was neither pervasive nor confined to a single coin in the deceased's mouth.
context_section_description: Greek and Roman literary sources from the 5th century BC through the 2nd century AD are consistent in attributing four characteristics to Charon’s obol:
  it is a single, low-denomination coin;
  it is placed in the mouth;
  the placement occurs at the time of death;
  it represents a boat fare.
  Greek epigrams that were literary versions of epitaphs refer to "the obol that pays the passage of the departed," with some epigrams referring to the belief by mocking or debunking it. The satirist Lucian has Charon himself, in a dialogue of the same name, declare that he collects "an obol from everyone who makes the downward journey." In an elegy of consolation spoken in the person of the dead woman, the Augustan poet Propertius expresses the finality of death by her payment of the bronze coin to the infernal toll collector (portitor). Several other authors mention the fee. Often, an author uses the low value of the coin to emphasize that death makes no distinction between rich and poor; all must pay the same because all must die, and a rich person can take no greater amount into death:
  My luggage is only a flask, a wallet, an old cloak, and the obol that pays the passage of the departed.
  The incongruity of paying what is, in effect, admission to Hell encouraged a comic or satiric treatment, and Charon as a ferryman who must be persuaded, threatened, or bribed to do his job appears to be a literary construct that is not reflected in early classical art. Christiane Sourvinou-Inwood has shown that in 5th-century BC depictions of Charon, as on the funerary vases called lekythoi, he is a non-threatening, even reassuring presence who guides women, adolescents, and children to the afterlife. Humor, as in Aristophanes's comic catabasis The Frogs, "makes the journey to Hades less frightening by articulating it explicitly and trivializing it." Aristophanes makes jokes about the fee, and a character complains that Theseus must have introduced it, characterizing the Athenian hero in his role of city organizer as a bureaucrat.
  Lucian satirizes the obol in his essay "On Funerals":
  So thoroughly are people taken in by all of this that when one of the family dies, immediately they bring an obol and put it into his mouth to pay the ferryman for setting him over, without considering what sort of coinage is customary and current in the lower world and whether it is the Athenian or the Macedonian or the Aeginetan obol that is legal tender there, nor indeed that it would be far better not to pay the fare, since in that case the ferryman would not take them and they would be escorted to life again.
  In another satirical work of Lucian, the "Dialogs of the dead", a character called Menippus has just died and Charon is asking for an obol in order to convey him across the river to the underworld, Menippus refuses to pay the obol, and consequently to enter the world of the dead claiming that:
  You can’t get blood out of a stone
  Literally, "You can't get [any obols] from one who doesn't have any."
caption: Charon receiving a child (drawing based on a scene from a lekythos)[23]
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