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Epitaphia.ru is the most complete collection of epitaphs in Russian on the Internet. All entries are categorized by person/addressee, that is, to whom they are assigned:
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- father
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and by shape/type:
- religious,
- secular,
- in verse,
- brief,
- on behalf of the deceased, etc.
To sort epitaphs by person or type, select the appropriate category from the left navigation column. Also on the top panel there is a search form by number or text of epitaphs, where you can find a record, containing a certain word, for example, “sorrow”, “worthy”, “heaven”, etc.
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An epitaph is...
word, term "epitaph"(literally from Greek - “tombstone”), today it is understood in several meanings:
- short inscription on the monument, tombstones;
- a short farewell speech voiced at a funeral or in commemoration of the deceased;
- specific literary genrea short commendable public speech;
- deceased
, such as an epigraph or an epilogue.
With regard to the practice of funeral services in Russia, short epitaphs mostly used in the design monument, tombstone on the grave. And more detailed, often in poetic form - in ritual paraphernalia- on ribbons of wreaths, on invitations to commemoration, etc., as well as in printed or online (Internet) obituaries - pages of memory of the deceased.
Epitaph
Epitaph
(Greek epitaphios - tombstone), a tombstone inscription, often in verse. Epitaphs appeared in Russian poetry in the 17th century. at Simeon of Polotsk, Sylvester Medvedev, Karion Istomin and, as a rule, are large poetic texts. In poetry of the 18th and 19th centuries. The epitaph has a short poetic form:
Under the sim stone is hidden the favorite of the Muses and Graces,
Felice is a glorious singer,
Derzhavin, our Pindar, Anacreon, Horace.
(A. E. Izmailov, “Epitaph to G. R. Derzhavin”)
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
Epitaph
EPITAPH- a memorial inscription on the tombstone (επιτάφιος - tombstone): limited by the smallness of the gravestone, turned, in most cases, to the "passerby", i.e. hurrying past - therefore, of necessity, it is laconic and clear.
Passing from the stone and iron of the tombstone to the paper sheet, transforming into a special literary form, the epitaph, nevertheless, retains its original brevity there, as it were, the embedding and lapidary style (see the word "laconism"), as well as the stereotypical appeal to the "passerby".
If a book epitaph, which only by tradition calls the ordinary reader a “passerby,” cannot be an example of a complete poetic creativity, since it is directed not at what the poet created, but at what was given to him real face, on the other hand, the ordinary cemetery memorial inscription is often not devoid of the rudiments of creativity, if only because it always refers to a “real” being only after it has ceased to exist in reality.
A simple, for example, consecrated by antiquity, rule of cemetery epitaph, which prescribes "de mortuis aut bene, aut nihil dicere" logically leads to the emergence of a special "cemetery poetics" that requires (and not always unsuccessfully) to build " positive image"of a person, by a witty obesthenation of the usual worldly light-shadow. The difficulties that Dostoevsky complained about (see "Correspondence") in creating an "absolutely positive type" (Prince Myshkin) are probably understandable to cemetery epitaphists; Of course, their works, glorifying any dead person, are artificial, but the “laudatory odes” (epinikia) written by genuine poets to genuine heroes are also, in most cases, artificial: this, however, does not give the right to consider this kind of creativity apoetic. Special craftsmen-composers of funeral verses and sayings (their existence, like the existence of hired "lamentations", is not in doubt), of course, is helped by the poetry of the cemetery itself: some -
Rest in peace, dear friend.
Sprinkling your ashes with tears
And I'm from all the vanities -
Waiting for the time to be with you
Taken out of context, turned off from the cemetery fence, they are completely powerless and elementary naive - but surrounded by crosses, inside the fence, these verses receive a certain tone, turning into almost poetry.
Cemetery, i.e. a genuine epitaph is wider and more varied than a book epitaph. The book, with extremely rare exceptions, always refers to the deceased; the cemetery inscription is directed either:
a) to the deceased, or b) on behalf of the deceased to the living (most often again to the “passerby”), or c) on behalf of the stone itself or to the one lying under it, or to those still walking by.
a) "And you are in the land of the living."
(Simonov monastery. 1834).
"Like a lily in the midst of summer
Withered in her beauty
So you, O daughter, hopes among the flattering
She died to my sorrow."
(Danilov Monastery, 1834).
„Come tutti i delicati fiori
appassiscon al caldo sole
e cercan l "ombra e la pace"
(“Like all delicate flowers, you have left the heat of the sun, seeking shade and peace”, Campo Santo in Venice).
b) Passer-by, you are going,
But lie down like me.
Sit down and rest
On my stone;
Tear off the bylinochka
And remember fate
I'm at home... you're away:
Think about yourself.
(Volkovo cemetery in St. Petersburg).
Ordinary quotations should also be included in this type, forcing the grave of a poet and writer to repeat the words of the one buried in it. See e.g. graves of G. Heine (Paris, Montmarte cemetery), A. Musset (Paris cemetery); Père Lachaise on the tombstone of N. A. Panov (Volkovo Kl .; Literat. Bridges): My whole life is in literature; literature is my life.
c) “A voice from the tombstone, emanating: Oh, you who walk by and look at the tombs, draw near; I will also read you my poems: The body that I hide in this place ... ”, etc.
(Donskoy Monastery. 1896).
At last kind epitaphic concept - the letters themselves, by the will of the stone, appear from it to the surface.
Cross-plates marked with the dates of the last 20-30 years are usually inexpressive and deader than the dead buried under them: the ancient cemetery pathos degenerates, losing further the lengthy ornateness that replaced in early XIX V. real "poetry of the grave", not alien to the 18th century. (for example: “From where to see the day of non-evening light”. Tombstone to Prince Golitsyn. Passionate Monastery. 1749. Or: “Watching in the morning, the night has reached me.” Exaltation of the Cross. Monastery. 1725). Cross words are undoubtedly driven, in a significant number of cases, by a genuine feeling of grief, but they fit into some kind of scribble of anguish. Simple tombstone statistics would show that the phenomenon of expressive speech is extremely rare, and that out of a thousand attempts, only one leads to at least partial success.
But if the individual experiences of cemetery epitaphs are dull and confused, then the special national and religious epigraphic canons, settled in time and created by the addition of many individual efforts, are much more convex and brighter: for example, in an Italian (Catholic) cemetery, almost on every cross “date fiori e prece" or "fiori e lacrime" the deceased asks for "flowers and prayers" or "flowers and tears".
Purely literary epitaph arises initially as a rival of the tombstone. The epitaphs of Simonides (5th century BC) were cut into tombstones, but some variants of them and imitations of other poets fell only into epigrammatic collections, which at one time were in great fashion.
A literary epitaph, tending to be more dramatic, usually changes "he" to "you", but retains the distich form. good tradition the necropolis, which demands de mortuis bene dicere and is alien to literary habits, is immediately distorted: an epitaph of a satyr arises, replacing the concept of "dead" with the concept of a spiritually stupefied (see Pushkin).
The epitaph, as a privileged form, was always put forward by romanticism, which loves to stay on the line between death and life.
Another great initiator of romanticism, W. Shakespeare, gives examples of a passion for epitaphs (see Timon of Athens, Hamlet, and many others).
In the eras that took out the epitaph beyond the fence of cemeteries, writing production overtakes very soon production of death. As a result, there are lifetime epitaphs, most often in the form of an "epitaph to oneself".
This kind of work reveals the meaning of the epitaph, as purely artistic technique: no "nature" before it is immobilized in "morte" can give its artistic display("nature-morte"); no event, until it calms down and leaves ("obiit" in the language of the old tombs) in the past, can be taken into the epic; and man, how can an image become subject(subjectum) of a creative judgment not before it lies under the epitaph, or only when, by the power of poetic imagination, it is “isolated” (I take the term of Hamannian aesthetics) from life, taken beyond its line, switched off from the fluid living “today” (in the ancient Moscow tombstones: "ended over ... and buried here") and buried in a book.
In this sense epitaphism is a factor in any artistic-objectifying creativity, - and Petrarch, who, during the life of Laura, wrote a sonnet on her death (see sonnet 193), - perhaps, as a person, he violated good morals, but as a poet he only obeyed one of the basic laws of creativity, according to which the image begins to live fully only after the material substratum of the image has disappeared.
S. Krzhizhanovsky.
Literary Encyclopedia: Dictionary literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Synonyms:
See what "epitaph" is in other dictionaries:
Epitaph- EPITAPHY - a memorial inscription on a tombstone (επιταφιος tombstone): limited by the smallness of the tombstone, addressed, in most cases, to the "passerby", i.e., hurrying past, therefore, of necessity, laconic and clear. Passing from the stone and ... ... Dictionary of literary terms
- (Greek; this. see the previous next). Epitaph. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. EPITAPHI in Greek. to epitaphion, from epi, over, and taphos, coffin. Epitaph. Explanation of 25,000 foreign words, ... ... Dictionary of foreign words of the Russian language
Cm … Synonym dictionary
Epitaph- a mourning inscription on a tombstone or a memorial plate in the form literary work usually symbolic content. Source: MDC 11 01.2002: Recommendations on the order of burial and maintenance of cemeteries in Russian Federation… … Dictionary-reference book of terms of normative and technical documentation
- (from the Greek epitaphios tombstone), a tombstone inscription, mainly in verse; in poetry, stylized epitaphs have become independent genre(the era of classicism) panegyric or, like an epigram, satirical content ... Modern Encyclopedia
- (from Greek epitaphios gravestone) gravestone inscription, mainly in verse; in poetry, stylized epitaphs became an independent genre (the era of classicism) of panegyric or, like an epigram, satirical content ... Big Encyclopedic Dictionary
EPITAPHI, epitaphs, female. (from the Greek epitaphios tombstone) (book). Tombstone, tomb inscription. Dictionary Ushakov. D.N. Ushakov. 1935 1940 ... Explanatory Dictionary of Ushakov
EPITAPHI, and, f. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov
Female, Greek tombstone, tombstone inscription. Dahl's Explanatory Dictionary. IN AND. Dal. 1863 1866 ... Dahl's Explanatory Dictionary
Dictionary Ushakov
Epitaph
epitaph, epitaphs, female(from Greek epitaphios - gravestone) ( books.). Tombstone, tomb inscription.
Culturology. Dictionary-reference
Epitaph
(Greek epitaphios - tombstone) - a tombstone inscription, especially a poetic one.
Anthropological explanatory dictionary
Epitaph
(from the Greek epitáphios tombstone) - a gravestone inscription, mostly in verse: a short poem, usually with an appeal to the deceased or from the deceased to passers-by ("Passerby, stop! ...", etc.). It existed both as a real inscription and as a fictitious one (in a collection of poems). IN European literature appears as a kind of ancient epigram (Simonides of Keos, 5th century BC, etc.); how a literary and artistic genre was popular in the era of the Middle Ages, the Renaissance and classicism, then gradually fell into disuse; the parodic, satirical epitaph, close to the epigram of modern times, lives longer than others (for example, R. Burns).
Terminological dictionary-thesaurus on literary criticism
Epitaph
(from Greek epitaphios - tombstone) - a genre that originates from a tombstone inscription. Most often a short poetic work of a commendable or tragic nature.
RB: Genres and Genres of Literature
Genre: Genre
Ass: Epigram
Example:
He died because he was stingy:
I didn’t get treated - it was a pity for the money,
But if he knew the price of a hearse, -
He would come to life to carry his corpse.
S. Marshak. Epitaph to the Miser (From English Poetry)
* "The epitaph in the literature of modern times may have a conditional character, that is, be addressed to the non-existent grave of an imaginary deceased, in this case it acquires a satirical meaning ..." (I.V. Stahl). *
Dictionary of forgotten and difficult words of the 18th-19th centuries
Epitaph
, And , and.
Tombstone, tomb inscription, mostly in verse.
* ...But now you have awakened in me howling remembrances of her[soul], and I read her epitaph to you, // Lermontov. Hero of our time // *
Glossary of musical terms
Epitaph
(gr. epitaphios - gravestone) - musical composition in honor of the deceased (for example, “At the Grave of Richard Wagner” by F. Liszt, “Tombstone Song” for the death of N. Rimsky-Korsakov, I. Stravinsky, etc.).
Scythians. Byzantium. Black Sea region. Dictionary of historical terms and names
Epitaph
inscription on the burial stele.
encyclopedic Dictionary
Epitaph
(from Greek epitaphios - tombstone), tombstone inscription, mainly in verse; in poetry, stylized epitaphs became an independent genre (the era of classicism) of panegyric or, like an epigram, satirical content.
Ozhegov's dictionary
EPIT A FIA, And, and.
1. A poem written about someone. of death. E. on the death of the commander.
2. Epitaph. E. on the monument.
It is not difficult to find out what an epitaph is: it is known that in ancient Greece, this was originally the name of the tomb speech, and then the tombstone inscription. The word literally means "over the grave". Some Belarusian researchers from the city of Grodno, while working on epitaphs of the 19th and early 20th centuries, note that this term came into the Russian language from French. The epitaph is characteristic in that it must short form reflect the meaning of life. People think about their death and their loved ones. There are few people who have never thought about it. Sometimes a person wants to have a certain memory of him.
There were times when there were no cemeteries and people usually had burial plots near their family homes. These graves were marked with uncut stones, wood, or some heavy object (apparently to prevent resurrection). There is an opinion that the tombstone originated from the Jewish custom of placing stones as a way to honor the deceased. This custom, in turn, was inspired by an incident: one Jew violated the Sabbath and considered himself guilty of this act, later he had to do this. After much thought, he decided that after his death, everyone passing by his grave should throw a stone. And the tradition of placing tombstones became popular.
Traditions in Europe
First known facts about this activity were established around the VI century. Then Simonides of Kegos lived, who sang of the dead Greeks who defeated the Persians. Most likely, eulogies to the dead were composed even before him, but Simonides was the first to clearly leave a mark. After him, in ancient Greece, this type of texts was developed. Example 1 of an ancient Greek epitaph that has survived to this day: “You pass the grave of Batt’s son, traveler. He knew how to compose songs, and sometimes not to get bored with wine. Unlike ordinary residents, the monuments and epitaphs to people who, during their lifetime, differed from ordinary people. For example, on the grave of the mathematician, engineer and physicist Archimedes in the 3rd century. BC e. a ball was carved on a marble slab, which, in turn, was inscribed in a cylinder, and the author's proof of the exact ratio of the volumes of these figures is given. It is surprising why Archimedes wanted to capture this fact, because so many other interesting discoveries were made.
Closer to the Middle Ages and the Renaissance, one can notice that the traditions of burials and epitaphs are developing and transforming.
Florentine poet
In the Renaissance, on the wave of interest in Ancient Greece, sayings written in Latin became especially popular. So, the tomb of the immortal in the writings of his Dante can be found in the church of Florence. “The sovereign's rights, heaven, the waters of Phlegetont, he sang, walking his earthly vale. Now my soul has gone to better world and blissful, contemplating among the luminaries of his Creator ... ”- is contained in the inscription. It is worth noting that Dante Alighieri himself was never there. He couldn't be in good relations with the then ruling Medici, and was expelled to the north of Italy, where he was buried. 
Turkic commander and Italian inventor
The great conqueror Tamerlane lived like a warrior and was buried like a warrior. The inscription in his tomb in Samarkand says that if he were alive, the whole world would tremble. It turned out that such an epitaph terrified his enemies even after the death of the commander, who did not touch his mausoleum. The more a person has done in life and longer list his merits and achievements, one word defiantly looks like an epigram. Of course, attention to this word is very strong, so it should express everything. "Leonardo" - this inscription, even today, really says it all. Modest and provocative at the same time. Of course, this 1 word is written on the grave of the great Italian da Vinci. The challenge lies in the fact that the privilege not to indicate one's family (surname) was and remains only with monarchs and heads of national churches.
Many epitaphs are brief accounts of career choices or marital status.
19th century in Europe
The development of public cemeteries in Europe can be considered the 19th century, when a large increase in population began to be observed. So, in England, during the reign of Queen Victoria (2nd half of the 19th century), cemeteries often began to look like parks. They installed lavishly decorated tombstones with various symbols, illustrations and sculptures:
- Angels of death;
- star of David;
- pigeon;
- Egyptian symbol Ankh;
- the eye of Horus;
- image of a weeping willow;
- horseshoes;
- swords.
These symbols denoted religious beliefs, social class, profession and a number of other aspects of the life of the deceased. Traditions were interesting not only in Europe, but also in Asia: samurai, before their voluntary death, as a rule, left a poem before this own composition. Here is one of them:
- Like a paper kite
- The soul is torn
- In the wind.
- Traditions in Russia
If Ancient Egypt And Ancient Greece may argue about where epitaphs appeared earlier, then in relation to Russia we can say with confidence: this tradition came rather late. In the XVI century. appears first in this genre literary creativity court poet Sylvester Medvedev. After him, Feofan Prokopovich adopted a kind of literary standard. Unlike European and American traditions, in Russian Empire epigrams with political witticisms did not take root. But there is a large distribution of tombstone inscriptions for clergy, which represented a track record. It contained the notable deeds of the deceased. On early Christian tombstones, the exact number of years, months and days lived by a person (sometimes even seconds) was often written. On the epitaphs of a later time for people with church rank, the period in which the minister lived in this rank was indicated. The tradition spread widely, most likely after the 18th century.
Changing Traditions
And the commander Suvorov himself changed the rule to indicate on the tombstones a large list of deeds and regalia. Considering somehow the burial place of 1 Austrian military man, he was surprised at the number of words and bequeathed to write only 3 words: "Here lies Suvorov." The will was not immediately executed, and the inscription turned out to be much longer. But over time, the grandson of the great commander made sure that the will of his grandfather was fulfilled. One cannot remain indifferent to the despair of Nina Griboyedova, who was widowed at the age of 16. The inscription on the tombstone of Alexander Griboedov, the author immortal comedy“Woe from Wit,” reads: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?” But representatives of the Romanov dynasty, ruling for several centuries, did not have a tradition of placing epitaphs on burials, this has been the custom since the first Tsar Michael.
As a literary work, the epitaph originates in Russia around the 19th century. It is marked in Russian poetry by an unprecedented interest in describing death, it has become permissible to express grief in this form for the deceased. Nikolai Alekseevich Nekrasov and Alexander Sergeevich Pushkin had such compositions. Mikhail Yuryevich Lermontov wrote a poem, which is called "Epitaph" on the death of his father. Already at the beginning of the XX century. Ivan Alekseevich Bunin will write a work similar in style "The inscription on the gravestone"
Nowadays
There is no epitaph on the grave of Sergei Yesenin, but lines from immortal poems continue to be quoted on in large numbers tombstones all over the country, and this suggests that he was and remains one of the favorite Russian poets. Some people think that a tombstone is a place for a contest in wits, so there are funny and strange epitaphs:
- Sleep well, dear husband, candidate of economic sciences.
- She lived in the world for 82 years, 6 months and 4 days without a break.
Abroad, too, do not forget about humor. For example, a comedian from Ireland could not betray himself and bequeathed to write: “I told you that I was sick.” Compared to previous examples, the statement on Frank Sinatra's grave looks truly optimistic: "The best is yet to come!"
Perhaps trying to write an epitaph for yourself is a good reason to sort out the meaning of your life and engage in a useful spiritual exercise. To do this, you may need to go to a quiet secluded place away from the bustle of the city to indulge in reflection. As the inscription on the 1st grave of an old Japanese cemetery says: “Bad deeds are dust for eternity, good deeds are also dust. But how do you want to be remembered?
(the era of classicism) or, like an epigram, satirical content.
Passerby! You go, but you lie down like me;
Sit down and rest on my rock
Tear off the blade and remember fate;
I am at home, you are away; think about yourself.
see also
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Notes
Literature
- Veselova Varvara. // Questions of Literature: Journal of Criticism and Literary Studies. 2006, no. 2.
- Vishnitzer M.,. Epitaphs // Jewish Encyclopedia of Brockhaus and Efron. - St. Petersburg. , 1908-1913.
- Krzhizhanovsky C.// Literary encyclopedia: Dictionary of literary terms: In 2 volumes. - T. 2. - 1925
- Muryanov M.F. Pushkin epitaphs. - M .: Heritage, 1995. - 112 p. - 500 copies. - ISBN 5-201-13236-7.(reg.)
- Moscow necropolis: History, archeology, art, protection: Materials of scientific and practical. conf / Ed.: E. A. Shulepova (responsible editor) and others; RAS, Research Institute of Culture. Moscow Cultural Foundation. - M .: NIIK, 1991 (1992). - 200 s.
- Postnov O. G.// The military past of the Russian state: lost and preserved. Materials of the All-Russian scientific and practical conference dedicated to the 250th anniversary of the Memorial Hall. Part 3. - St. Petersburg. , 2006. - S. 38-42.
- Rzhannikova Ludmila. // Funeral home. 2003, no. 3.
- Russian poetic epitaph: Anthology / Enter. article, comp., prepared. text and notes. S. I. Nikolaeva, T. S. Tsarkova. - St. Petersburg. : Academic project, 1998. - 720 p. - (New library of the poet). - 2,000 copies. - ISBN 5-7331-0122-9.(in trans.)
- Ryazantsev S.// Thanatology (the doctrine of death) / Sergei Ryazantsev. East European Institute of Psychoanalysis. - St. Petersburg. : VEIP, 1994. - 384 p. - (Library of psychoanalytic literature). - 25,000 copies. - ISBN 5-85-084-004-8.
- F. S. Khakimzyanov The language of the epitaphs of the Volga Bulgars. - M.: Nauka, 1978. - 184 p.
- Shubinsky S. N. Cemetery Literature (Epitaphs of the 18th century) // Historical essays and stories / S. N. Shubinsky; Enter. essay, comp. Ph.D. L. D. Polinovskaya; Artistic A. Kushchenko. - M .: Moskovsky worker, 1995. - 288 p. - (Club of lovers of the history of the Fatherland: KLIO). - 15,000 copies. - ISBN 5-239-01459-0.(in lane) - Decree. personal names: s. 281-286.
Links
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- - Russia, Kaliningrad (08.10.2007)
An excerpt characterizing the Epitaph
They talked for a long time, making even me cry, although I was already kind of used to this, if, of course, you can get used to this at all ...After about an hour, I already felt like a squeezed lemon and began to get a little worried, thinking about returning home, but still did not dare to interrupt this one, although now happier, but, unfortunately, they last meeting. Very many, whom I tried to help in this way, begged me to come again, but I reluctantly refused to do so. And not because I didn’t feel sorry for them, but only because there were a lot of them, and, unfortunately, I was alone ... And I also had some kind of my own life, which I loved very much, and which I always dreamed of living as fully and interestingly as possible.
Therefore, no matter how sorry I was, I always gave myself to each person for only one single meeting, so that he would have the opportunity to change (or at least try) what, usually, he could never have any hope ... I considered this an honest approach for myself and for them. And only one single time I broke my "iron" rules and met with my guest several times, because it was simply not in my power to refuse her ...
