that was capable of receiving salvation. Christian mortalism The above views share the traditional Christian belief in the immortality of the soul. The mortalist view of the intermediate state requires an alternative view of the and , taking a view of the New Testament use of Hell as equivalent to use of Hades in the Septuagint and therefore to Sheol in the Old Testament. William Tyndale and Martin Bucer of Strassburg argued that Hades in Acts 2 was merely a metaphor for the grave. Other reformers Christopher Carlisle and Walter Deloenus in London, argued for the article to be dropped from the creed. The Harrowing of Hell was a major scene in traditional depictions of Christ's life avoided by John Milton due to his mortalist views. Mortalist interpretations of the Acts 2 statements of Christ being in Hades are also found among later Anglicans such as E. W. Bullinger. While those holding mortalist views on the soul would agree on the "harrowing of hell" concerning souls, that there were no conscious dead for Christ to literally visit, the question of whether Christ himself was also dead, unconscious, brings different answers: To most Protestant advocates of "soul sleep" such as Martin Luther, Christ himself was not in the same condition as the dead, and while his body was in Hades, Christ, as second person of the Trinity, was conscious in heaven. To Christian mortalists who are also non-Trinitarian, such as Socinians and Christadelphians, the maxim "the dead know nothing" includes also Christ during the three days. Of the three days, Christ says "I was dead" (Greek egenomen nekros ἐγενόμην νεκρὸς, Latin fui mortuus). In culture Drama The richest, most circumstantial accounts of the Harrowing of Hell are found in medieval dramatic literature, such as the four great cycles of English Mystery plays which each devote a separate scene to depict it. Christ was portrayed as conquering Satan, and then victoriously leading out Adam and Eve, the prophets, and the patriarchs. The earliest surviving Christian drama probably intended to be performed is the Harrowing of Hell found in the 8th-century Book of Cerne. The subject is found also in the Cornish Mystery plays and the York and Wakefield cycles. These medieval versions of the story derive from scripture, but the details come from the Gospel of Nicodemus. Literature In Dante's Inferno the Harrowing of Hell is mentioned in Canto IV by the