"for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the ""Iliad"" The material of lament, the ""sound of trauma"" is as much an element in the Book of Job as in the genre of pastoral elegy, such as Shelley's ""Adonais"" or Matthew Arnold's ""Thyrsis"". The Book of Lamentations or ""Lamentations of Jeremiah"" figures in the Old Testament. The ""Lamentation of Christ"" (under many closely variant terms) is a common subject from the ""Life of Christ"" in art, showing his dead body being mourned after the Crucifixion. A Lament in The Book of"
"Planctus A planctus (""plaint"") is a lament or dirge, a song or poem expressing grief or mourning. It became a popular literary form in the Middle Ages, when they were written in Latin and in the vernacular (e.g., the ""planh"" of the troubadours). The most common ""planctus"" is to mourn the death of a famous person, but a number of other varieties have been identified by Peter Dronke. The earliest known example, the ""Planctus de obitu Karoli"", was composed around 814, on the death of Charlemagne. Other ""planctus"" from the ninth century include vernacular laments in a woman's voice, Germanic"
"Threnody A threnody is a wailing ode, song, hymn or poem of mourning composed or performed as a memorial to a dead person. The term originates from the Greek word θρηνῳδία (""threnoidia""), from θρῆνος (""threnos"", ""wailing"") and ᾠδή (""oide"", ""ode""), the latter ultimately from the Proto-Indo-European root *""h₂weyd-"" (""to sing"") that is also the precursor of such words as ""ode"", ""tragedy"", ""comedy"", ""parody"", ""melody"" and ""rhapsody"". Synonyms include ""dirge"", ""coronach"", ""lament"" and ""elegy"". The ""Epitaphios Threnos"" is the lamentation chanted in the Eastern Orthodox Church on Holy Saturday. John Dryden commemorated the death of Charles II of England in the"
"Requiem A Requiem or Requiem Mass, also known as Mass for the dead (Latin: ""Missa pro defunctis"") or Mass of the dead (Latin: ""Missa defunctorum""), is a Mass in the Catholic Church offered for the repose of the soul or souls of one or more deceased persons, using a particular form of the Roman Missal. It is usually, but not necessarily, celebrated in the context of a funeral. Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when"
"Lament A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. Laments can also be expressed in a verbal manner, where the participant would lament about something they regret or someone they've lost, usually accompanied by wailing, moaning and/or crying. Laments constitute some of the oldest forms of writing and examples are present across human cultures. Many of the oldest and most lasting poems in human history have been laments. The Lament for Sumer and Ur dates back at least 4000 years to"
"long poem ""Threnodia Augustalis"", and Ralph Waldo Emerson wrote a ""Threnody"" in memory of his son. In jazz: Threnody A threnody is a wailing ode, song, hymn or poem of mourning composed or performed as a memorial to a dead person. The term originates from the Greek word θρηνῳδία (""threnoidia""), from θρῆνος (""threnos"", ""wailing"") and ᾠδή (""oide"", ""ode""), the latter ultimately from the Proto-Indo-European root *""h₂weyd-"" (""to sing"") that is also the precursor of such words as ""ode"", ""tragedy"", ""comedy"", ""parody"", ""melody"" and ""rhapsody"". Synonyms include ""dirge"", ""coronach"", ""lament"" and ""elegy"". The ""Epitaphios Threnos"" is the lamentation chanted in the"
"Dirge A dirge is a somber song or lament expressing mourning or grief, such as would be appropriate for performance at a funeral. The English word ""dirge"" is derived from the Latin ""Dirige, Domine, Deus meus, in conspectu tuo viam meam"" (""Direct my way in your sight, O Lord my God""), the first words of the first antiphon in the Matins of the Office for the Dead, created on basis of (5:9 in Vulgate). The original meaning of ""dirge"" in English referred to this office. A Christian funeral lament from the Cleveland area of north-east Yorkshire is known as the"
"composed in Old Hungarian. The Mongol invasion of Europe drew a ""planctus"" from an anonymous monk in the entourage of Béla IV of Hungary, the ""Planctus destructionis regni Hungariae per Tartaros"" (1242). Planctus A planctus (""plaint"") is a lament or dirge, a song or poem expressing grief or mourning. It became a popular literary form in the Middle Ages, when they were written in Latin and in the vernacular (e.g., the ""planh"" of the troubadours). The most common ""planctus"" is to mourn the death of a famous person, but a number of other varieties have been identified by Peter Dronke."
"bass descends through a tetrachord, usually one suggesting a minor mode. Lament A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. Laments can also be expressed in a verbal manner, where the participant would lament about something they regret or someone they've lost, usually accompanied by wailing, moaning and/or crying. Laments constitute some of the oldest forms of writing and examples are present across human cultures. Many of the oldest and most lasting poems in human history have been laments. The Lament"
"Nibelungenklage Die Nibelungenklage or Die Klage (English: the lament; Middle High German: ""Diu Klage"") is an anonymous Middle High German heroic poem. The poem describes the laments for and burial of the dead from the ""Nibelungenlied"", as well as the spread of the news of the catastrophe that ended the other poem, as well as the fates of the various characters who survived. It was likely written at around the same time as the ""Nibelungenlied"" (c. 1200), and is appended to it as though it were another episode (""âventiure""). The poem begins with a long lamentation by the narator about"
"Lamentation (usually celebrated on Friday evening) resembles the Byzantine Rite funeral service, in that its main component is the chanting of Psalm 118 (the longest Psalm in the Bible), each verse of which is interspersed with laudations (""ainoi"") of the dead Christ. The service takes place with the clergy and people gathered around the epitaphios in the center of the church. Everyone stands holding lighted candles during the psalm. Next are chanted the ""Evlogitaria of the Resurrection"", hymns which are normally chanted only on Sundays. This is the first liturgical mention of the impending Resurrection of Jesus. At the end"
"Elegy In English literature, an elegy is a poem of serious reflection, usually a lament for the dead. The ""Oxford Handbook of the Elegy"" notes: The Greek term ""elegeia"" (; from , ""elegos"", ""lament"") originally referred to any verse written in elegiac couplets and covering a wide range of subject matter (death, love, war). The term also included epitaphs, sad and mournful songs, and commemorative verses. The Latin elegy of ancient Roman literature was most often erotic or mythological in nature. Because of its structural potential for rhetorical effects, the elegiac couplet was also used by both Greek and Roman"
"purification. Traditionally the true mourner's prayer is known as ""El Molai Rachamim"" in Ashkenazi literature and ""Hashkavah"" in Sephardic literature. Often times the mourner's prayer is mistaken for Kaddish. The recitation of the mourner's prayer is done for the soul of an individual who has died. The prayer itself is an appeal for the soul of the deceased to be given proper rest. Typically recitation of this prayer is done at the graveside during burial, during the unveiling of the tombstone, as well as at remembrances services during Yom Kippur, Shmini Atzeret, the final day of Passover, and the final"
"Lament for the Makaris I that in Heill wes and Gladnes, also known as ""The Lament for the Makaris"", is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line remorselessly repeats the Latin refrain ""timor mortis conturbat me"" (fear of death troubles me), a litanic phrase from the Office of the Dead. Apart from its literary quality, the poem is of notable for the list of makars it contains, some of whom are historically attestable as poets only from Dunbar's testimony in this work. After listing Lydgate, Gower and Chaucer, the"
"Kinnot Kinnot (; also kinnos, kinoth, qinot, qinoth; singular kinah or kinnah) are dirges (sad poems) or elegies traditionally recited by Jews on Tisha B'Av to mourn the destruction of both the First and Second Temple in Jerusalem and other tragedies in Jewish history, including the Crusades, the Expulsion of Jews from Spain and the Holocaust. The kinnot are recited on the night of Tisha B'Av after reciting the Book of Lamentations, which was also called ""Kinnot"" in the Talmudic era (see, e.g., Bava Batra 14b) before it assumed its more familiar name of ""Eichah."" The term is also used"
"so-called ""Song of the sword""; David's ""last words""; the words of praise of liberated Israel; songs of praise like Psalms 18, 24, 126, etc. Other lyrics express mourning. First among these are the dirges proper for the dead, as the ḳinah on the death of Saul and Jonathan; that on Abner's death; and all psalms of mourning, as, e.g., the expressions of sorrow of sufferers, and the expressions of penitence of sinners. Finally, a large group of poems of the Old Testament that urge action and are exhortatory. These may be divided into two sections: It was natural that in"
"the Holocaust, this may become an integral part of the service without a formal decision. Kinnot Kinnot (; also kinnos, kinoth, qinot, qinoth; singular kinah or kinnah) are dirges (sad poems) or elegies traditionally recited by Jews on Tisha B'Av to mourn the destruction of both the First and Second Temple in Jerusalem and other tragedies in Jewish history, including the Crusades, the Expulsion of Jews from Spain and the Holocaust. The kinnot are recited on the night of Tisha B'Av after reciting the Book of Lamentations, which was also called ""Kinnot"" in the Talmudic era (see, e.g., Bava Batra"
"El Malei Rachamim ""El Malei Rachamim"" (Hebrew: אֵל מָלֵא רַחֲמִים, lit. “God full of Mercy” or “Merciful God”), is a Jewish prayer for the soul of a person who has died, usually recited at the graveside during the burial service and at memorial services during the year. In the Ashkenazi liturgy, the prayer is usually chanted by a chazzan for the ascension of the souls of the dead on the following occasions: during the funeral; at an unveiling of the tombstone; ""Yizkor"" (Remembrance) service on the four of the Jewish festivals, Yom Kippur, Shmini Atzeret, and the last day of"
"Requiem (Jón Leifs) Requiem, Op. 33b, is a short a cappella choral piece by Icelandic composer Jón Leifs (1899–1968), dedicated to the memory of his daughter who drowned in a swimming accident shortly before her 18th birthday. The piece has only the name in common with the traditional Latin Mass for the dead. It is composed to a text which is a collage of Icelandic folk poetry and selections from a poem by Jónas Hallgrímsson. The music has the character of a lullaby and together with the text evokes the idea of a parent singing to a sleeping child. The"
"the twelfth hour of the Good Friday service, that commemorates the burial of Jesus. Book of Lamentations The Book of Lamentations (, ""‘Êykhôh"", from its incipit meaning ""how"") is a collection of poetic laments for the destruction of Jerusalem. In the Hebrew Bible it appears in the Ketuvim (""Writings""), beside the Song of Songs, Book of Ruth, Ecclesiastes and the Book of Esther (the Megilloth or ""Five Scrolls""), although there is no set order; in the Christian Old Testament it follows the Book of Jeremiah, as the prophet Jeremiah is its traditional author. Jeremiah's authorship is no longer generally accepted,"
"In paradisum In paradisum (English: ""Into paradise"") is an antiphon from the traditional Latin liturgy of the Western Church Requiem Mass. It is sung by the choir as the body is being taken out of the church. The text of the ""In paradisum"" — with or without the Gregorian melody itself — is sometimes included in musical settings of the Requiem Mass, such as those by Gabriel Fauré and Maurice Duruflé. In the Masses for the dead, this antiphon is sung in procession on the way from the final blessing of the corpse in church to the graveyard where burial"
"Keening Keening is a traditional form of vocal lament for the dead. ""Keen"" as a noun or verb comes from the Irish and Scottish Gaelic term ""caoineadh"" (""to cry, to weep"") and references to it from the seventh, eighth and twelfth centuries are extensive. Written sources that refer to the practice in Ireland and Gaelic Scotland appear from the sixteenth century on. The Irish tradition of keening over the body during the funeral procession and at the burial site is distinct from the wake — the practice of watching over the corpse – which takes place the night before the"
"a Latin poem or hymn which prays mercy at the dawn of apocalypse. The poem was originally written by Thomas of Celano, an Italian friar of the Franciscans, who lived in 13th century and was an obligatory part of the Roman Catholic Requiem Mass for some centuries before 1969. Kurt Bachman stated that the song was inspired by Mozart's Requiem Mass. The original pressings of both R.E.X. Records and Roadrunner Records are sold out these days and are hard to find. In 2005, Canadian record label ""Retroactive Records"" issued a 1000 units pressing of ""Sanity Obscure"", in which they had"
"The Burial of Christ. During Matins, ""Lamentations"" (Greek: Ἐπιτάφιος Θρῆνος, ""Epitaphios Thrēnos"", ""Epitaphic Lamentation""; or Ἐγκώμια, ""Enkōmia"", ""praises"") are sung before the Epitaphios as at the tomb of Christ, while all hold lighted candles. The verses of these Lamentations are interspersed between the verses of Psalm 118 (the chanting of this psalm forms a major part of the Orthodox funeral service). The Lamentations are divided into three sections called ""stáses"", each commonly known by its first phrase; in Greek these are: At the beginning of each stásis, the priest or deacon will perform a censing. In the Greek use, at"
"also by shepherds deploring their fate. Verkavimai are sung by the bride at her wedding. Many laments reflect the ancient Lithuanian world outlook, and a unique perspective on the afterlife. Laments often depict the world of the souls, where loved ones abide. The anthropomorphizing of trees is another ancient belief found in the texts of laments. Laments are highly improvisatory, yet the improvisations remain within the bounds of established tradition and poetics. ""Professional"" lamenters, hired to sing at funerals, displayed great skill in impelling their listeners to tears. Their lamentations were performed for pay: cloth, gloves, bacon, a meal or"
"Kaddish The Kaddish or Qaddish (, ""qaddiš"" ""holy""; alternative spelling: Ḳaddish) is a hymn of praises to God found in Jewish prayer services. The central theme of the ""Kaddish"" is the magnification and sanctification of God's name. In the liturgy, different versions of the Kaddish are used functionally as separators between sections of the service. The term ""Kaddish"" is often used to refer specifically to ""The Mourner's Kaddish"", said as part of the mourning rituals in Judaism in all prayer services, as well as at funerals (other than at the gravesite, see ""Qaddish aḥar Haqqəvurah"" ""Qaddish after Burial"") and memorials,"
"Stabat Mater The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, Stabat Mater dolorosa, which means ""the sorrowful mother was standing"". The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The ""Stabat Mater"" has been set to music by many Western composers, most famously by Palestrina (~1590), Vivaldi (1712), Domenico (1715) and Alessandro Scarlatti (1723), Pergolesi (1736), Joseph Haydn (1767),"
"Epitaph An epitaph (from Greek ""epitaphios"" ""a funeral oration"" from ἐπί ""epi"" ""at, over"" and τάφος ""taphos"" ""tomb"") is a short text honoring a deceased person. Strictly speaking, it refers to text that is inscribed on a tombstone or plaque, but it may also be used in a figurative sense. Some epitaphs are specified by the person themselves before their death, while others are chosen by those responsible for the burial. An epitaph may be written in prose or in poem verse; poets have been known to compose their own epitaphs prior to their death, as did William Shakespeare. Most"
"under helme and scheild; Victour he is at all mellie; Lament for the Makaris I that in Heill wes and Gladnes, also known as ""The Lament for the Makaris"", is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line remorselessly repeats the Latin refrain ""timor mortis conturbat me"" (fear of death troubles me), a litanic phrase from the Office of the Dead. Apart from its literary quality, the poem is of notable for the list of makars it contains, some of whom are historically attestable as poets only from Dunbar's testimony"
"Kommos (theatre) A kommos (from Greek κομμός, ""kommós"", literally ""striking"", especially ""beating of the head and breast in mourning"") is a lyrical song of lamentation in an Athenian tragedy that the chorus and a dramatic character sing together. A kommos occurs ""when the tension of the play rises to a climax of grief or horror or joy"". Examples include the final section (lines 908-1077) of Aeschylus' ""The Persians"" (472 BCE) in which Xerxes laments the defeat of his Persian army, the final appearance of Antigone in Sophocles' ""Antigone"" (c.442 BCE), the interaction between the chorus and Oedipus when he returns"
"of the service, with special funeral verses. As mentioned above, there are five different funeral services, all of which have different outlines: Important features of the funeral service are as follows: Right at the beginning of the funeral, Psalm 118 (Septuagint numbering; KJV: Psalm 119) is chanted. In the Orthodox Psalter this is known as the 17th Kathisma, and is the longest psalm in the Bible. The psalm is divided into three sections, called Stases, the first two of which is followed by a brief Ektenia (litany) for the Dead. Each verse of the Psalm is followed by a refrain."
"found in the Old Norse ""Thidreksaga"", either because the compiler of the ""Thidrekssaga"" was aware of the ""Nibelungenklage"" or because both incorporate a similar orally transmitted story about Dietrich's return. Nibelungenklage Die Nibelungenklage or Die Klage (English: the lament; Middle High German: ""Diu Klage"") is an anonymous Middle High German heroic poem. The poem describes the laments for and burial of the dead from the ""Nibelungenlied"", as well as the spread of the news of the catastrophe that ended the other poem, as well as the fates of the various characters who survived. It was likely written at around the"
"men whose voices blasted the stone walls of the abbey like a rebuke. <poem> To what God Shall we chant Our songs of Battle? Oh, to whom shall a song of battle be chanted? Not to our lord of the hosts on his ancient throne, Drowsing the ages out in Heaven alone. The celestial choirs are mute, the angels have fled: Word is gone forth abroad that our lord is dead. Is it nothing to you, all you that pass by? Behold and see if there be any sorrow like unto my sorrow. To what God Shall we chant Our"