While administering ordinances in preparation for the dedication of the Kirtland temple, on 21 January 1836, Joseph Smith again experienced a vision of the celestial kingdom. In the vision, he saw God the Father, His Son Jesus Christ, and Biblical Patriarchs—but significantly, he also beheld his father and mother who were living at the time, as well as his older brother Alvin who had died twelve years earlier. Joseph then “beheld” children who died in infancy saved in the celestial kingdom. The significance of this vision as a catalyst for Joseph Smith’s theological development has been underestimated. Joseph Smith envisioned his parents in the celestial kingdom at a time when his understanding of the eternality of marriage was expanding. This 1836 vision contributed to the doctrinal development of eternal marriage and the ritual of sealing husbands and wives. The vision was likewise a catalyst for what became the doctrine of the redemption of the dead. Beholding his unbaptized brother Alvin in the celestial kingdom, provoked Joseph theologically toward an expanded heaven and a contracted hell. Vicarious rituals became the practical way to offer redemption to the dead, thus resolving the soteriological problem of evil, and revealing that God’s plan was mercifully calculated to make salvation universally available. Joseph knew in 1836 that infant children who died prematurely received salvation in the kingdom of heaven. This vision further inspired Joseph toward the development of the ritual of child-to-parent sealings, which could ensure eternal bonds between parents and their posterity who lived to maturity—ultimately making it possible to link the whole human family back to Adam and Eve. Though the vision of the celestial kingdom significantly influenced the doctrinal development of Joseph Smith, the vision and associated revelations, remained an obscure journal entry during the lifetime of the prophet. After 140 years, the vision achieved canonization status as Doctrine and Covenants section 137.

Les chansons populaires grecques sont imprégnées d’une profonde religiosité qui apparaît à la fois comme cadre et comme vecteur d’action. Le poète populaire entretient une relation multidimensionnelle avec le Dieu de la Bible et de l’Ancien Testament et fait des saints et des anges des personnages actifs et récurrents dans les textes ; ils évoluent parallèlement avec les héros et leurs destinées s’entrecroisent. Charos est une figure mythique qui joue un rôle fondamental dans l’ensemble des chansons. Personnage mythologiquement et symboliquement sophistiqué, Charos constitue le pilier des mirologues. Ses relations ambiguës avec la divinité déterminent celles qu’il entretient avec l’homme et fait de lui un être à part. A la fois incarnation du mal et agent de la mort, son riche parcours historique dévoile ses nombreuses facettes, ainsi que ses liens avec certaines figures héroïques ambigües telles que Digenis ou Tsamados. La nature et les animaux détiennent un rôle significatif, caractérisé d’une sacralité profonde, et ils accompagnent l’homme des chansons dans tous les aspects de sa vie personnelle et sociale. Leur capacité de métamorphose et leur rôle d’annonciateurs dans les ballades, placent les animaux sur le devant de la scène et leur accordent un rôle de première importance dans le déroulement de l’action. Le poète accorde une importance particulière à l’aspect social du sacré en explorant la notion de la trahison divine mais également celle de l’obéissance de l’homme à son dieu. La vie monacale et le clergé comme l’altérité religieuse, deviennent l’objet d’une critique d’ordre social et une source d’humour. Les chansons populaires véhiculent en les adaptant un nombre important de mythes qui ont une logue présence sur le territoire hellénique : le mythe de Tantale, de Calypso et d’Adonis en font partie. L’héritage antique de l’expression publique du deuil, du rachat du mort et du tombeau du héros vient former les bases de la philosophie populaire et fait de la mort un véritable croisement de cultures. / Greek folk songs are infused with a profound religiosity that appears both as a framework and as a means of action. The folk poet has a multidimensional relationship with the God of the Bible and of the Old Testament and makes saints and angels active and recurrent personalities in his texts; they evolve in parallel with the heroes, and their destinies intertwine. Charos is a mythical figure that plays a fundamental role throughout the songs. A mythologically and symbolically sophisticated personality, Charos is the pillar of the lament songs. His ambiguous relationship with the divine determines his relationship with man, and makes him a separate being. Both incarnation of evil and agent of death, his rich historical journey reveals his many faces, as well as his links with some heroic and ambiguous figures such as Digenis or Tsamados. Nature and the animals hold a significant role, characterised by a profound sacredness, and they accompany man in all aspects of his personal and social life. Their ability to transform and their role as announcers in the ballads, place the animals on the front of the stage and grant them a major role in the unfolding of the action. The poet attaches particular importance to the social aspect of the sacred by exploring the notion of divine betrayal but also that of obedience of man to his god. Monastic life and the clergy, as well as religious diversity, become objects of social criticism, and a source of humour. Folk songs preserve an important number of myths by adapting them, that have a literary presence in the Hellenic territory: the myths of Tantalus, Calypso and Adonis belong to them. The ancient heritage of the public expression of grief, of the redemption of the dead and of the hero's tomb, forms the basis of folk philosophy and makes death a true crossroads of cultures.