[521]. Ibid., p. 101.
[522]. Budde, “Das hebräische Klagelied,” Zeitschr. f. alttestamentl. Wissensch., II. 26 f.; and Wetzstein, “Syrische Dreschtafel,” as quoted above. See also same Zeitsch., III. 299 ff. For the professional singing-women, the praeficae of Israel, see Jer. ix. 19.
[523]. Budde, “Die hebräische Leichenklage,” Zeitschr. d. deutsch. Palästina-Vereins, VI. 181 f., 184 ff.
[524]. Work quoted, p. cxxxiii.
[525]. J. G. Hahn, Albanesische Studien, I. 150 f.
[526]. Precisely as among the Irish. See Miss Edgeworth’s account, quoted by Brand, Antiquities, “Watching with the Dead.”
[527]. In a note, I. 198, Hahn notes that Plato forbade this wild cry (Legg. xxi), but allowed the song of lament. For calling on the dead, cf. Latin inclamare.
[528]. One of the canons which condemned heathen customs at Christian funerals forbids not only song and dance, but also illum ululatum excelsum.
[529]. The vocero sung by natives of Algiers has been noted as strongly resembling the Corsican. A specimen, quoted from Certeux and Carnoy, L’Algérie Traditionelle, is full of repetition and refrain.
[530]. Springer, Das altprovenzalische Klagelied, Berlin, 1895, pp. 8 ff. It is this formal poem of grief which is in the mind of Crescimbeni, Comentarj Intorno all’ Istoria della Volgar Poesia, 1731, I. 256, when he traces the Italian funeral song back to Latin and Greek.