Epitaph |

Epitaph (from Greek epitapios – tombstone, from epi – on, over and tapos – grave) – a tombstone inscription, usually in verse. Type E. developed in Dr. Greece and Rome. In European culture, both real poetry and a fictitious one, as it were, reproducing it — a poem in the spirit of a tombstone inscription, which exists on the same rights as other “inapplicable” poems — were used. Preserved E., dedicated to musicians, for example. trumpeter of the Roman army (see the book: Fedorova E.V., Latin Inscriptions, M., 1976, pp. 140, 250, No 340) and an organ master, “who knew how to make water organs and even direct the movement (of water in them )”. Occasionally, real E. were also musical. So, on the tomb of Seikil in Tralles (Lydia, Asia Minor) ca. 100 BC e. a recording of a song melody with the corresponding text was carved (see the musical example in the article Ancient Greek modes). In the 19th century often created muses. products, which in their nature corresponded to the idea of ​​u2buXNUMXbE. and sometimes bear this name. Among them are the XNUMXnd movement of Berlioz’s Funeral and Triumphal Symphony (Tomb Speech for solo trombone), E. to the Gravestone of Max Egon of Furstenberg” for flute, clarinet and harp by Stravinsky, three E. (“Drei Grabschriften”) Dessau on the op. B. Brecht (in memory of V. I. Lenin, M. Gorky and R. Luxembourg), E. on the death of K. Shimanovsky for strings. Sheligovsky orchestra, vocal-symphony. E. in memory of F. Garcia Lorca Nono and others. E. are related to other products. so-called. memorial genres – a funeral march, denial, tombstone (Le tombeau; suite “The Tomb of Couperin” for the pianoforte Ravel, “Sorrowful Song” for the Lyadov Orchestra), some elegies, Lamento, In memoriam (introit “In Memory of T. S. Eliot » Stravinsky, «In memoriam» for orchestra Schnittke).

Editions: Greek epigram, trans. с древнегреч., (M., 1960); Epigraphical Latin songs. Br. Buecheler, fasc. 1-3, Lipsia, 1895-1926; Latin sepulchral songs. Collected by J. Cholodniak, Petropolis, 1897.

References: Petrovsky PA, Latin epigraphic poems, M., 1962; Ramsay WM, Unedited inscriptions of Asia Minor, Bulletin de Correspondance Hellénique, 1883, v. 7, No. 21, p. 277-78; Crusius O., Ein Liederfragment auf einer antiken Statuenbasis, “Philologus”, 1891, Bd 50, S. 163-72; his own, Zu neuentdeckten antiken Musikresten, ibid., 1893, S. 160-200; Martin E., Trois documents de musique grecque, P., 1953, p. 48-55; Fischer W., Das Grablied des Seikilos, der einzige Zeuge des antiken weltlichen Liedes, in Ammann-Festgabe, Vol. 1, Innsbruck, 1953, S. 153-65.

E. V. Gertzman