There the King of Babylon is seen in his descent into Sheol.
Her house is the way to Sheol, Going down to the chambers of death.
The monarch-shades of Sheol hail with derision the entrance of the King of Babylon among them.
It shows that the disembodied state in Sheol is not an unconscious state, but one of consciousness.
Their bodies are in the pit, the grave, and their souls in Sheol, the unseen regions.
After that follows another wail, a solemn dirge, over the Egyptian multitudes which have passed into Sheol.
He who goes to Sheol in sorrow is pursued by sorrow after death.
"Oh, I was just tracing a little parallel between Hatboro' and Sheol," replied her husband.
Gipsy muttered contemptuously to himself, "Oh, Sheol; I'm not afraid o' that!"
But his fate is the fate of all mortals—to go down to the weakness and emptiness of Sheol.
1590s, from Hebrew, literally "the underworld, Hades," of unknown origin. Used in R.V. in place of Hell in many passages.
(Heb., "the all-demanding world" = Gr. Hades, "the unknown region"), the invisible world of departed souls. (See HELL.)