See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

EPITAPH (Gr. it oa¢See also:

• COS
• COS, or STANKO (Ital. Stanchio, Turk. Islan-keui, by corruption from Etc rav KW)

cos, sc. X/yos, from bri, upon, and ra¢os, a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb)  , strictly, an inscription upon a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb, though by a natural See also:

• EXTENSION (Lat. ex, out ; tendere, to stretch)

extension of usage the name is applied to anything written ostensibly for that purpose whether actually inscribed upon a tomb or not . When the word was introduced into See also:

• ENGLISH

English in the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century it took the See also:

• FORM (Lat. forma)

form epitaphy, as well as epitaphe, which latter word is used both by See also:

• GOWER
• GOWER, JOHN (d. 1408)

Gower and See also:

• LYDGATE, JOHN (c. 1370–c. 1451)

Lydgate . Many of the best-known epitaphs, both See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient and See also:

• MODERN

modern, are merely See also:

• LITERARY

literary memorials, and find no See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place on sepulchral monuments . Sometimes the intention of the writer to have his See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production placed upon the See also:

• GRAVE

grave of the See also:

• PERSON, OFFENCES AGAINST THE

person he has commemorated may have been frustrated, sometimes it may never have existed; what he has written is still entitled to be called an See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph if it be suitable for the purpose, whether the purpose has been carried out or not . The most obvious See also:

• EXTERNAL

external See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition that suitability for mural inscription imposes is one of rigid See also:

• LIMITATION, STATUTES OF

limitation as to length . An epitaph cannot in the nature of things extend to the proportions that may be required in an See also:

• ELEGY

elegy . The See also:

• DESIRE

desire to perpetuate the memory of the dead being natural to See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, the practice of placing epitaphs upon their See also:

• GRAVES, ALFRED PERCEVAL (1846— )

graves has been See also:

• COMMON

common among all nations and in all ages . And the similarity, amounting sometimes almost to identity, of thought and expression that often exists between epitaphs written more than two thousand years ago and epitaphs written only yesterday is as striking an See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence as literature affords of the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close kinship of human nature under the most varying conditions where the same See also:

• PRIMARY

primary elemental feelings are stirred . The grief and See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope of the See also:

• ROMAN

Roman See also:

• MOTHER

mother as expressed in the touching lines " Lagge fill bene quiescas; Mater tua rogat te, Ut me ad te recipias: Vale!" find their See also:

• ECHO (Gr. I'Xw)

echo in similar See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions in many a modern See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery . Probably the earliest epitaphial inscriptions that have come down to us are those of the ancient Egyptians, written, as their mode of sepulture necessitated, upon the sarcophagi and coffins . Those that have been deciphered are all very much in the same form, commencing with a See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer to a deity; generally See also:

• OSIRIS

Osiris or See also:

• ANUBIS (in Egyptian Anap, written Inpw in hieroglyphs)

Anubis, on behalf of the deceased, whose name, descent and See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office are usually specified . There is, however, no See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to delineate individual See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and the feelings of the survivors are not expressed otherwise than in the fact of a prayer being offered .

Ancient See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek epitaphs, unlike the See also:

• EGYPTIAN

Egyptian, are of See also:

• GREAT

great literary See also:

• INTEREST

interest, deep and often See also:

• TENDER

tender in feeling, See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and varied in expression, and generally epigrammatic in form . They are written usually in elegiac See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, though many of the later EPITAPH 703 epitaphs are in See also:

• PROSE

prose . Among the gems of the Greek See also:

• ANTHOLOGY

anthology See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to English readers through See also:

• TRANSLATIONS

translations are the epitaphs upon those who had fallen in See also:

• BATTLE

battle . There are several ascribed to See also:

• SIMONIDES (or SEMONIDES) OF AMORGOS

Simonides on the heroes of See also:

• THERMOPYLAE (Gr. OepµSs, hot, and 1rf)X,

Thermopylae, of which the most celebrated is the See also:

• EPIGRAM

epigram " Go tell the Spartans, See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

thou that passest by, That here, obedient to their See also:

• LAWS

laws, we See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie . 'y' A hymn of Simonides on the same subject contains some lines of great beauty in praise of those who were buried at Thermopylae, and these may be regarded as forming a literary epitaph . In See also:

• SPARTA (Gr. Eirapril or AaKe5atycav)

Sparta epitaphs were inscribed only upon the graves of those who had been especially distinguished in See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war; in See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens they were applied more indiscriminately . They generally contained the name, the descent, the See also:

• DEMISE

demise, and some See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the See also:

• LIFE

life of the person commemorated . It must be remembered, however, that many of the so-called Greek epitaphs are merely literary memorials not. intended for monumental inscription, and that in these freer See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope is naturally given to See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general reflections, while less See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention is paid to See also:

• BIOGRAPHICAL

biographical details . Many of them, even some of the monumental, do not contain any See also:

• PERSONAL

personal name, as in the one ascribed to See also:

• PLATO

Plato " I am a shipwrecked sailor's tomb ; a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant's there doth stand : Thus the same See also:

• WORLD

world of Hades lies beneath both See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea and See also:

• LAND

land." Others again are so entirely of the nature of general reflections upon See also:

• DEATH

death that they contain no indication of the particular See also:

• CASE
• CASE, JOHN (d. 1600)

case that called them forth . It may be questioned, indeed, whether several of this character quoted in See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary collections are epitaphs at all, in the sense of being intended for a particular occasion . Roman epitaphs, in contrast to those of the Greeks, contained, as a See also:

• RULE

rule, nothing beyond a See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of facts . The inscriptions on the urns, of which numerous specimens are to be found in the See also:

• BRITISH

British Museum, See also:

• PRESENT

present but little variation .

The letters D.M.orD.M.S . (Diis Manibus or Diis Manibus Sacrum) are followed by the name of the person whose ashes are enclosed, his See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age at death, and sometimes one or two other particulars . The inscription closes with the name of the person who caused the See also:

• URN (Lat. urna, either from root of urere, to burn, being made of burnt clay, or connected with urceus, Gr. I5pxa, jar)

urn to be made, and his relationship to the deceased . It is a curious See also:

• ILLUSTRATION

illustration of the survival of traces of an old faith after it has been formally discarded to find that the letters D.M. are not uncommon on the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian inscriptions in the catacombs . It has been suggested that in this case they mean Deo Maximo and not Diis Manibus, but the explanation would be quite untenable, even if there were not many other undeniable instances of the survival of See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan superstitions in the thought and life of the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Christians . In these very See also:

• CATACOMB

catacomb inscriptions there are many illustrations to be found, apart from the use of the letters D.M., of the See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union of See also:

• HEATHEN

heathen with Christian sentiment, (see See also:

• MAITLAND (MAITLAND OF LETHINGTON), WILLIAM
• MAITLAND, EAST
• MAITLAND, EDWARD (1824-1897)
• MAITLAND, FREDERIC WILLIAM (1850-1906)
• MAITLAND, SIR RICHARD (LORD LETHINGTON) (1496-r586)

Maitland's See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church in the Catacombs) . The private See also:

• BURIAL

burial-places for the ashes of the dead were usually by the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the various roads leading into See also:

• ROME
• ROME (Roma)

Rome, the Via See also:

• APPIA, VIA

Appia, the Via See also:

• FLAMINIA, VIA

Flaminia, &c . The traveller to or from the See also:

• CITY (through Fr. cite, from Lat. civitas)

city thus passed for See also:

• MILES, NELSON APPLETON (1839— )

miles an almost uninterrupted See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of tombstones, whose inscriptions usually began with the appropriate words Siste Viator or Aspice Viator, the origin doubt-less of the " Stop Passenger," which still meets the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye in many See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish churchyards of See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain . Another phrase of very common occurrence on ancient Roman tombstones, Sit tibi terra See also:

• LEVIS (formerly Pointe Levi)

levis (" See also:

• LIGHT

Light lie the See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth upon thee "), has continued in frequent use, as conveying an appropriate sentiment, down to modern times . A remarkable feature of many of the Roman epitaphs was the terrible denunciation they often pronounced upon those who violated the See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

sepulchre . Such denunciations were not uncommon in later times . A well-known instance is furnished in the lines on See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's tomb at See also:

• STRATFORD
• STRATFORD, JOHN DE (d. 1348)

Stratford-on-See also:

• AVON

Avon, said to have been written by the poet himself " See also:

• GOOD, JOHN MASON (1764-1827)

Good frend, for Jesus' See also:

• SAKE

sake forbeare To digg the dust enclosed heare; Bleste be yt man yt spares thes stones, And curst be he yt moves my bones." The earliest existing British epitaphs belonged to the Roman See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, and are written in Latin after the Roman form .

Specimens are to be seen in various antiquarian museums throughout the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country; some of the inscriptions are given in See also:

• BRUCE
• BRUCE, ALEXANDER BALMAIN (1831-1899)
• BRUCE, JAMES (1930-1794)
• BRUCE, MICHAEL (1746-1767)

Bruce's Roman See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

Wall, and the seventh See also:

• VOLUME

volume of the Corpus Inscriptionum Latinarum edited by See also:

• HUBNER, EMIL (1834-1901)
• HUBNER, JOSEPH ALEXANDER, COUNT (1811-1892)

Hubner, containing the British inscriptions, is a valuable repertory for the earlier Roman epitaphs in Britain . The earliest, of course, are commemorative of soldiers, belonging to the legions of occupation, but the Roman form was afterwards adopted for native Britons . See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

Long after the Roman form was discarded, the Latin See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language continued to be used, especially for inscriptions of a more public character, as being from its supposed permanence the most suitable See also:

• MEDIUM

medium of communication to distant ages . It is only, in fact, within See also:

• RECENT

recent years that Latin has become unusual, and the more natural practice has been adopted of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing the epitaphs of distinguished men in the language of the country in which they lived . While Latin was the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief if not the See also:

• SOLE (Solea)

sole literary language, it was, as a See also:

• MATTER

matter of course, almost exclusively used for epitaphial inscriptions . The comparatively few English epitaphs that remain of the uth and 12th centuries are all in Latin . They are generally confined to a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere statement of the name and See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of the deceased following the words " Hic jacet." Two noteworthy exceptions to this general brevity are, however, to be found in most of the collections . One is the epitaph to Gundrada, daughter of the Conqueror (d . 1085), which still exists at See also:

• LEWES
• LEWES, CHARLES LEE (1740–1803)

Lewes, though in an imperfect See also:

• STATE
• STATE, GREAT OFFICERS OF

state, two of the lines having been lost; another is that to See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William de See also:

• WARREN
• WARREN, GOUVERNEUR KEMBLE (183o-1882)
• WARREN, JOSEPH (1741—1775)
• WARREN, MERCY (1728—1814)
• WARREN, MINTON (1850-1907)
• WARREN, SAMUEL (1807-1877)
• WARREN, SIR JOHN BORLASE, BART
• WARREN, WILLIAM (1812-1888)

Warren, See also:

• EARL

earl of See also:

• SURREY
• SURREY, EARLDOM OF
• SURREY, HENRY HOWARD, EARL OF (1518?-1547)

Surrey (d. ro8q), believed to have been inscribed in the See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

abbey of St Pancras, near Lewes, founded by him . Both are encomiastic, and describe the character and See also:

• WORK

work of the deceased with considerable fulness and beauty of expression . They are written in leonine verse . In the 13th century See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French began to be used in writing epitaphs, and most of the inscriptions to celebrated See also:

• HISTORICAL

historical personages between 1200 and 1400 are in that language .

Mention may be made of those to See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert, the 3rd earl of See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford (d . 1221), as given in See also:

• WEEVER
• WEEVER, JOHN (1576-1632)

Weever, to See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry III . (d . 1272) at See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster Abbey, and to See also:

• EDWARD

Edward the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince (d . 1376) at See also:

• CANTERBURY
• CANTERBURY, CHARLES

Canterbury . In most of the inscriptions of this period the deceased addresses the reader in the first person, describes his rank and position while alive, and, as in the case of the Black Prince, contrasts it with his wasted and loathsome state in the grave, and warns the reader to prepare for the same inevitable See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change . The epitaph almost invariably closes with a See also:

• REQUEST, LETTERS OF

request, sometimes very urgently worded, for the prayers of the reader that the soul of the deceased may pass to See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory, and an invocation of blessing, general or specific, upon all who comply . Epitaphs preserved much of the same character after English began to be used towards the close of the 14th century . The following, to a member of the See also:

• SAVILE, SIR G
• SAVILE, SIR GEORGE (1726-1784)
• SAVILE, SIR HENRY (1549–1622)

Savile See also:

• FAMILY

family at See also:

• THORNHILL
• THORNHILL, SIR JAMES (1676-1734)

Thornhill, is probably even earlier, though its precise date cannot be fixed: " Bonys emongg stonys lys ful steyl gwylste the sawle wan- deris were that See also:

• GOD

God wylethe " that is, Bones among stones lie full still, whilst the soul wanders whither God willeth . It may be noted here that the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of the inscriptions, Latin and English, from 1300 to the period of the See also:

• REFORMATION
• REFORMATION, THE

Reformation, that have been preserved, are upon See also:

• BRASSES, MONUMENTAL

brasses (see BRASSES, MCNUMENTAL) . The very curious epitaph on St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard, probably written by a See also:

• MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
• MONK (or MONCK), GEORGE
• MONK, JAMES HENRY (1784-1856)
• MONK, MARIA (c. 1817—1850)

monk of See also:

• CLAIRVAUX

Clairvaux, has the peculiarity of being a See also:

• DIALOGUE

dialogue in Latin verse . It was in the reign of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth that epitaphs in English began to assume a distinct literary character and value, entitling them to rank with those that had hitherto been composed in Latin .

We learn from See also:

• NASH, RICHARD (1674-1762)

Nash that at the close of the 16th century it had become a See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade to See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply epitaphs in English verse . There is one on the See also:

• DOWAGER (from the Old Fr. douagiere, mod. douairiere)

dowager countess of See also:

• PEMBROKE
• PEMBROKE (Penfro)
• PEMBROKE, EARLS OF

Pembroke (d . 1621), remarkable for its successful use of a somewhat daring See also:

• HYPERBOLE (from Gr. i'irep/3aX tew, to throw beyond)

hyperbole . It was written by William See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne, author of Britannia's Pastorals: " Underneath this See also:

• SABLE
• SABLE, AMERICAN
• SABLE, CHINESE
• SABLE, MADELEINE DE SOUVRE, MARQUISE DE (1599—1678)
• SABLE, RUSSIAN

sable See also:

• HEARSE (an adaptation of Fr. herse, a harrow, from Lat. hirpex, hirpicem, rake or harrow, Greek aprra;:)

hearse Lies the subject of all verse; See also:

• SYDNEY

Sydney's See also:

• SISTER

sister, Pembroke's mother; Death, ere thou hast slain another See also:

• FAIR

Fair and learn'd and good as she, See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

Time will throw his dart at thee . See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

Marble piles let no man raise To her name for after days;Some See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind woman, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born as she, See also:

• READING

Reading this, like See also:

• NIOBE

Niobe, Shall turn marble, and become Both her mourner and her tomb." If there be something of the exaggeration of a conceit in the second See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza, it needs scarcely to be pointed out that epitaphs, like every other form of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, necessarily reflect the literary characteristics of the age in which they were written . The deprecation of marble as unnecessary suggests one of the finest literary epitaphs in the English language, that by See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton upon Shakespeare . The epitaphs of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope are still considered to possess very great literary merit, though they were rated higher by See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson and critics of his period than they are now . Dr Johnson, who thought so highly of Pope's epitaphs, was himself a great authority on both the theory and practice of this See also:

• SPECIES

species of composition . His See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on epitaphs is one of the few existing monographs on the subject, and his See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion as to the use of Latin had great See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence . The manner in which he met the delicately insinuated request of a number of eminent men that English should be employed in the case of See also:

• OLIVER, ISAAC (c. 1566--1617)
• OLIVER, PETER (1594-1648)

Oliver See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

Goldsmith was characteristic, and showed the strength of his conviction on the subject . His arguments in favour of Latin were chiefly See also:

• DRAWN

drawn from its inherent fitness for epitaphial inscriptions and its classical stability . The first of these has a very considerable force, it being admitted on all hands that few See also:

• LANGUAGES

languages are in themselves so suitable for the purpose; the second is out-weighed by considerations that had considerable force in Dr Johnson's time, and have acquired more since .

Even to the learned Latin is no longer the language of daily thought and life as it was at the period of the Reformation, and the great See also:

• BODY

body of those who may fairly claim to be called the well-educated classes can only read it with difficulty, if at all . It seems, there-fore, little less than absurd, for the sake of a stability which is itself in great See also:

• PART

part delusive, to write epitaphs in a language unintelligible to the vast majority of those for whose See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information presumably they are intended . Though a stickler for Latin, Dr Johnson wrote some very beautiful English epitaphs, as, for example, the following on See also:

• PHILIPS, AMBROSE (c. 1675-1749)
• PHILIPS, JOHN (1676-1708)
• PHILIPS, KATHARINE (1631-1664)

Philips, a musician: " Philips, whose See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch harmonious could remove The pangs of guilty See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power or hapless love; See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

Rest here, distressed by poverty no more, Here find that See also:

• CALM

calm thou gav'st so oft before; See also:

• SLEEP (0. Eng. slcepan; Ger. schlafen; cf. Lat. labi, to glide, and " slip ")

Sleep undisturbed within this peaceful See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine Till angels See also:

• WAKE (A.S. wacan, to " wake " or " watch ")
• WAKE, THOMAS (1297-1349)
• WAKE, WILLIAM (1657-1737)

wake thee with a See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note like thine!" In classifying epitaphs various principles of See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division may be adopted . Arranged according to See also:

• NATIONALITY

nationality they indicate distinctions of See also:

• RACE

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 See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, its See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace, clearness, wit and epigrammatic point, are all recognizable in French epitaphs . In the 16th century those of See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne See also:

• PASQUIER, ETIENNE (1529-1615)
• PASQUIER, ETIENNE DENIS

Pasquier were universally admired . Instances such as " La premiere au rendez-See also:

• VOUS

vous," inscribed on the grave of a mother, See also:

• PIRON, ALEXIS (1689-1773)

Piron's epitaph, written for himself after his rejection by the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy " Ci-git Piron, qui ne fut rien, Pas meme academicien and one by a relieved See also:

• HUSBAND

husband, to be seen at Pere la See also:

• CHAISE (the French for " chair," through a transference from a "sedan-chair" to a wheeled vehicle)

Chaise " Ci-git 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 See also:

• SUBLIME (Lat. sublimis, exalted)

sublime to the See also:

• COMMONPLACE

commonplace, every See also:

• MOOD

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 intetesting 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 See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, from lofty pathos and dignified eulogy to coarse buffoonery and the vilest scurrility . The extent to which the humorous and even the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low comic See also:

• ELEMENT (Lat. elementum)

element prevails among them is a noteworthy circumstance . It is curious that the most See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

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 See also:

• HUMOUR (Latin humor)

humour is generally of a much more entertaining kind than that which has been deliberately perpetrated . See Weever, Ancient Funerall Monuments (1631, 1661, See also:

• TOOKE, JOHN HORNE (1736–1812)
• TOOKE, THOMAS (1774-1858)

Tooke's edit., 1767) ; Philippe Labbe, See also:

• THESAURUS (Gr. B17o-avp6s)

Thesaurus epitaphiorum (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1666) ; Theatrum funebre extructum a Dodone Richea seu Ottone Aicher (1675) ; See also:

• HACKETT, HORATIO BALCH (1808-1875)
• HACKETT, JAMES HENRY (1800—1871)

Hackett, Select and Remarkable Epitaphs (1757) ; de See also:

• LAPLACE, PIERRE SIMON, MARQUIS DE (1749—1827)

Laplace, E`pitaphes serieuses, badines, satiriques et burlesques (3 vols., Paris, 1782) ; Pulleyn, See also:

• CHURCHYARD
• CHURCHYARD, THOMAS (c. 152o-16o4)

Churchyard Gleanings (c . 183o); L . Lewysohn, Sechzig Epitaphien von Grabsteinen d. israelit . Friedhofes zu, See also:

• WORMS

Worms (1855); Pettigrew, See also:

• CHRONICLES, BOOKS OF

Chronicles of the Tombs (1857); S . Tissington, Epitaphs (1857); See also:

• ROBINSON, EDWARD (1794–1863)
• ROBINSON, HENRY CRABB (1777–1867)
• ROBINSON, JOHN (1575–1625)
• ROBINSON, JOHN (1650-1723)
• ROBINSON, JOHN THOMAS ROMNEY (1792–1882)
• ROBINSON, MARY [" Perdita "] (1758–1800)
• ROBINSON, SIR JOHN BEVERLEY, BART
• ROBINSON, SIR JOSEPH BENJAMIN (1845– )
• ROBINSON, THEODORE (1852-1896)

Robinson, Epitaphs from Cemeteries in See also:

• LONDON

London, See also:

• EDINBURGH

Edinburgh, &c . (1859) ; le Blant, Inscriptions chretiennes de la Gaule anterieures au VIIP siecle (1856, 1865) ; Blommaert, Galliard, &c., Inscriptions funeraires et monumentales de la pray. de Flandre Orient (See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, 1857, 186o); Inscriptions fun. et moll. de la prov. d'Anvers (See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, 1857–1860) ; Chwolson, Achtzehn hebraische Grabschriften aus der Krim (1859) ; J . See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown, Epitaphs, &c., in Greyfriars Churchyard, Edinburgh (1867); H .

J . Loaring, See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

Quaint, Curious, and Elegant Epitaphs (1872) ; J . R . Kippax, Churchyard Literature, a Choice Collection of See also:

• AMERICAN

American Epitaphs (See also:

• CHICAGO
• CHICAGO, UNIVERSITY OF

Chicago, 1876) ; also the poet William See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth's Essay on Epitaphs .