In classifying epitaphs various principles of division may be adopted. Arranged according to nationality they indicate distinctions of race less clearly perhaps than any other form of literature does,—and this obviously because when under the influence of the deepest feeling men think and speak very much in the same way whatever be their country. At the same time the influence of nationality may to some extent be traced in epitaphs. The characteristics of the French style, its grace, clearness, wit and epigrammatic point, are all recognizable in French epitaphs. In the 16th century those of Étienne Pasquier were universally admired. Instances such as “La première au rendez-vous,” inscribed on the grave of a mother, Piron’s epitaph, written for himself after his rejection by the French Academy—
| “Ci-gît Piron, qui ne fut rien, Pas même académicien”— |
and one by a relieved husband, to be seen at Père la Chaise—
| “Ci-gît ma femme. Ah! qu’elle est bien Pour son repos et pour le mien”— |
might be multiplied indefinitely. One can hardly look through a collection of English epitaphs without being struck with the fact that these represent a greater variety of intellectual and emotional states than those of any other nation, ranging through every style of thought from the sublime to the commonplace, every mood of feeling from the most delicate and touching to the coarse and even brutal. Few subordinate illustrations of the complex nature of the English nationality are more striking.
Epitaphs are sometimes classified according to their authorship and sometimes according to their subject, but neither division is so interesting as that which arranges them according to their characteristic features. What has just been said of English epitaphs is, of course, more true of epitaphs generally. They exemplify every variety of sentiment and taste, from lofty pathos and dignified eulogy to coarse buffoonery and the vilest scurrility. The extent to which the humorous and even the low comic element prevails among them is a noteworthy circumstance. It is curious that the most solemn of all subjects should have been frequently treated, intentionally or unintentionally, in a style so ludicrous that a collection of epitaphs is generally one of the most amusing books that can be picked up. In this as in other cases, too, it is to be observed that the unintended humour is generally of a much more entertaining kind than that which has been deliberately perpetrated.
See Weever, Ancient Funerall Monuments (1631, 1661, Tooke’s edit., 1767); Philippe Labbe, Thesaurus epitaphiorum (Paris, 1666); Theatrum funebre extructum a Dodone Richea seu Ottone Aicher (1675); Hackett, Select and Remarkable Epitaphs (1757); de Laplace, Épitaphes sérieuses, badines, satiriques et burlesques (3 vols., Paris, 1782); Pulleyn, Churchyard Gleanings (c. 1830); L. Lewysohn, Sechzig Epitaphien von Grabsteinen d. israelit. Friedhofes zu Worms (1855); Pettigrew, Chronicles of the Tombs (1857); S. Tissington, Epitaphs (1857); Robinson, Epitaphs from Cemeteries in London, Edinburgh, &c. (1859); le Blant, Inscriptions chrétiennes de la Gaule antérieures au VIIIe siècle (1856, 1865); Blommaert, Galliard, &c, Inscriptions funéraires et monumentales de la prov. de Flandre Orient (Ghent, 1857, 1860); Inscriptions fun. et mon. de la prov. d’Anvers (Antwerp, 1857-1860); Chwolson, Achtzehn hebräische Grabschriften aus der Krim (1859); J. Brown, Epitaphs, &c, in Greyfriars Churchyard, Edinburgh (1867); H.J. Loaring, Quaint, Curious, and Elegant Epitaphs (1872); J.K. Kippax, Churchyard Literature, a Choice Collection of American Epitaphs (Chicago, 1876); also the poet William Wordsworth’s Essay on Epitaphs.
EPITHALAMIUM (Gr. ἐπί, at or upon, and θάλαμος, a nuptial chamber), originally among the Greeks a song in praise of bride and bridegroom, which was sung by a number of boys and girls at the door of the nuptial chamber. According to the scholiast on Theocritus, one form, the κατακοιμητικόν, was employed at night, and another, the διεγερτικόν, to arouse the bride and bridegroom on the following morning. In either case, as was natural, the main burden of the song consisted of invocations of blessing and predictions of happiness, interrupted from time to time by the ancient chorus of Hymen hymenaee. Among the Romans a similar custom was in vogue, but the song was sung by girls only, after the marriage guests had gone, and it contained much more of what modern morality would condemn as obscene. In the hands of the poets the epithalamium was developed into a special literary form, and received considerable cultivation. Sappho, Anacreon, Stesichorus and Pindar are all regarded as masters of the species, but the finest example preserved in Greek literature is the 18th Idyll of Theocritus, which celebrates the marriage of Menelaus and Helen. In Latin, the epithalamium, imitated from Fescennine Greek models, was a base form of literature, when Catullus redeemed it and gave it dignity by modelling his Marriage of Thetis and Peleus on a lost ode of Sappho. In later times Statius, Ausonius, Sidonius Apollinaris and Claudian are the authors of the best-known epithalamia in classical Latin; and they have been imitated by Buchanan, Scaliger, Sannazaro, and a whole host of modern Latin poets, with whom, indeed, the form was at one time in great favour. The names of Ronsard, Malherbe and Scarron are especially associated with the species in French literature, and Marini and Metastasio in Italian. Perhaps no poem of this class has been more universally admired than the Epithalamium of Spenser (1595), though he has found no unworthy rivals in Ben Jonson, Donne and Quarles. At the close of In Memoriam Tennyson has appended a poem, on the nuptials of his sister, which is strictly an epithalamium.