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A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. Laments can also be expressed in a verbal manner in which participants lament about something that they regret or someone that they have lost, and they are usually accompanied by wailing, complaint and/or crying.Piotr Michalowski, trans., Lamentation over the Destruction of Sumer and Ur (Winona Lake, Ind.: Eisenbrauns, 1989), 39–62; cited in Nancy Lee, Lyrics of Lament: From Tragedy to Transformation (Minneapolis: Augsburg Fortress, 2009) Laments constitute some of the oldest forms of writing, and examples exist across human cultures.
In many oral traditions, both early and modern, the lament has been a genre usually performed by women:Alexiou 1974; Angela Bourke, "More in anger than in sorrow: Irish women's lament poetry", in Joan Newlon Radnor, ed., Feminist Messages: Coding in Women's Folk Culture (Urbana: Illinois University Press) 1993:160–182. Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the IliadBatya Weinbaum, "Lament Ritual Transformed into Literature: Positing Women's Prayer as Cornerstone in Western Classical Literature" Journal of American Folklore 114 No. 451 (Winter 2001:20–39). The material of lament, the "sound of trauma" is as much an element in the Book of Job as in the genre of pastoral elegy, such as Shelley's "Adonais" or Matthew Arnold's "Thyrsis".
The Book of Lamentations or Lamentations of Jeremiah figures in the Old Testament. The Lamentation of Christ (under many closely variant terms) is a common subject from the Life of Christ in art, showing Jesus' dead body being mourned after the Crucifixion. Jesus himself lamented over the prospective fall of Jerusalem as he and his disciples entered the city ahead of his passion.: see sub-heading for this section in the Jerusalem Bible (1966)
A lament in the Book of Lamentations or in the Psalms, in particular in the Lament/Complaint Psalms of the Tanakh, may be looked at as "a cry of need in a context of crisis when Israel lacks the resources to fend for itself".Walter Brueggemann, An Unsettling God (Minneapolis: Fortress Press, 2009) 13 Another way of looking at it is all the more basic: laments simply being "appeals for divine help in distress".Michael Coogan, A Brief Introduction to the Old Testament (Oxford: Oxford University Press, 2009) 370 These laments, too, often have a set format: an address to God, description of the suffering/anguish from which one seeks relief, a petition for help and deliverance, a curse towards one's enemies, an expression of the belief of ones innocence or a confession of the lack thereof, a vow corresponding to an expected divine response, and lastly, a song of thanksgiving. Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively.
The Lament of Edward II, if it is actually written by Edward II of England, is the sole surviving composition of his.
A heroine's lament is a conventional fixture of Baroque opera opera seria, accompanied usually by strings alone, in descending tetrachords.Ellen Rosand, 2007. Opera in Seventeenth-Century Venice (University of California Press), "The lament aria: variations on a theme". pp. 377ff. Because of their plangent cantabile melodic lines, evocatively free, non-strophic construction and adagio pace, operatic laments have remained vividly memorable soprano or mezzo-soprano even when separated from the emotional pathos of their operatic contexts. An early example is Ariadne's "Lasciatemi morire", which is the only survivor of Claudio Monteverdi's lost Arianna. Francesco Cavalli's operas extended the lamento formula, in numerous exemplars, of which Ciro's "Negatemi respiri" from Ciro is notable."Negatemi respiri" and several others are noted by Rosand 2007:377f.
Other examples include Dido's Lament ("When I am laid in earth") (Henry Purcell, Dido and Aeneas), "Lascia ch'io pianga" (George Frideric Handel, Rinaldo), "Caro mio ben" (Tommaso Giordani or Giuseppe Giordani). The lament continued to represent a musico-dramatic high point. In the context of opera buffa, the Countess's lament, "Dove sono", comes as a surprise to the audience of Wolfgang Amadeus Mozart's The Marriage of Figaro, and in Gioachino Rossini's Barber of Seville, Rosina's plaintive words at her apparent abandonment are followed, not by the expected lament aria, but by a vivid orchestral interlude of storm music. The heroine's lament remained a fixture in romantic opera, and the Marschallin's monologue in act 1 of Der Rosenkavalier can be understood as a penetrating psychological lament.
In modernity, discourses about melancholia and trauma take the functional place ritual laments hold in premodern societies. This entails a shift from a focus on community and convention to individuality and authenticity.
A well-known Gaelic lullaby is "Griogal Cridhe" ("Beloved Gregor"). It was composed in 1570 after the execution of Gregor MacGregor by the Campbells. The grief-stricken widow, Marion Campbell, describes what happened as she sings to her child. "Lullabies and Dandlings", Foghlam Alba
"Cumhadh na Cloinne" ("Lament for the Children") is a pìobaireachd composed by Padruig Mór MacCrimmon in the early 1650s. It is generally held to be based on the loss of seven of MacCrimmon's eight sons within a year to smallpox, possibly brought to Skye by a Spanish trading vessel. Poet and writer Angus Peter Campbell, quoting poet Sorley MacLean, has called it "one of the great artistic glories of all Europe". Author Bridget MacKenzie, in Piping Traditions of Argyll, suggests that it refers to the slaughter of the MacLeods fighting Cromwell's forces at the Battle of Worcester. It may have been inspired by both. "Pibroch songs and canntaireachd", Education Scotland
Other Scottish laments from outside of the Pibroch tradition include "Lowlands Away", "MacPherson's Rant", and "Hector the Hero".
Performed primarily by women during the próthesis step of the burial, ritual lament in the Archaic Greece and
/ref> The gendering of ritual lamentation reflects the gender roles of the time, wherein women were perceived to be more prone to emotion in contrast to men, who were seen as creatures of logos.Weiss, Naomi. “NOISE, MUSIC, SPEECH: THE REPRESENTATION OF LAMENT IN GREEK TRAGEDY.” The American Journal of Philology 138, no. 2 (2017): 243–66. http://www.jstor.org/stable/26360827.
In the Archaic and Homeric ages, lament was understood to be divided into two distinct parts: gôos and thrënos. Moving into the Classical period, however, gôos and thrënos were often used as interchangeably, particularly in Athenian tragedy.Margaret Alexiou, The Ritual Lament in Greek Tradition, second ed. (Cambridge University Press) 2002. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_AlexiouM.Ritual_Lament_in_Greek_Tradition.2002. Lamenting women appeared in works by well-known tragedians, such as Cassandra's lament in Aeschylus' Agamenon, Electra's lament in Sophocles' Electra, and Hecuba's lament in Euripides 'Trojan Women. Tragedians also developed another genre of lament, kommos, that appeared exclusively in tragedies.Margaret Alexiou, The Ritual Lament in Greek Tradition, second ed. (Cambridge University Press) 2002. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_AlexiouM.Ritual_Lament_in_Greek_Tradition.2002. Ritual lament also inspired male poets, who adopted the practice into more literary forms. Written laments could be addressed to the divine or personalized for a poet’s close friend.Bion, Lament for Adonis,Loeb Classical LibraryParthenius of Nicaea, Poetic Fragments, Loeb Classical Library
Ritual Lament in Athens During the Age of Solon’s Laws
Athenian policymaker Solon placed restrictions on women’s participation in funerary rites. Solon’s laws set limitations on women’s dress and behavior, controlling the way that women were allowed to appear in public for funerary occasions. His laws also had an impact on the burial proceedings in relation to women’s roles, as he forbid “laceration of the flesh by mourners,” “bewailing” and the use of set lamentations.Plutarch, Lives. Solon, Loeb Classical Library These policies could have been made to address the level of noise that accompanied the ritual lament step of funerals and to curb extravagance from the wealthy. However, Plutarch comments that Solon’s laws concerning women seemed, in general, “very absurd.” He expressed that Solon’s laws were rather unfavorable towards women, using examples such as Solon’s policies on sexual assault.Plutarch, Lives. Solon, Loeb Classical Library Modern interpretations of these changes comment on the disruptive potential of the lament on a political level. In Athens, where logic and rationality were valued, the emotional nature of the lament was not viewed favorably by men in power.Dunham, Olivia (2014) "Private Speech, Public Pain: The Power of Women's Laments in Ancient Greek Poetry and Tragedy," CrissCross: Vol. 1 : Iss. 1 , Article 2.
Lament During the Festival of Adonia
The connection between lamentation and femininity is made apparent in the Athenian festival of Adonia. An event held exclusively for women, by women, the main purpose of this festival was to mourn the death of Adonis, the lover of the goddess Aphrodite. During this festival, women participated in collective lamenting. Women took to the rooftops to perform their lament and held a procession in the streets.Simms, Ronda R. “Mourning and Community at the Athenian Adonia.” The Classical Journal 93, no. 2 (1997): 121–41. http://www.jstor.org/stable/3298134. In fragments of Sappho’s work, a lament for Adonis appears. Sappho’s work gives insight on some of the activities that may have occurred during this festival. In her poem, Sappho calls on women to engage in actions such as “beating your bosoms” and “rending your tunics.”Sappho, Fragments, Loeb Classical Library These actions are the same activities that women would do for burial rituals. The Greek poet Bion also wrote a Lament for Adonis. His poem records the ritual laments of Adonia in hexameter, unlike Sappho, who wrote in lyric meter. Throughout his lament, he makes frequent references to Aphrodite, who also referred to by the name Cytherea. His words show the close association between Adonis and Aphrodite.Bion, Lament for Adonis, Loeb Classical Library Sappho and Bion’s works are also demonstrative of how the tradition lament expanded from oral to literary form.
References to the Adonia is made in Aristophanes’ Lysistrata. In the play, the male characters express a distaste for the Adonia, particularly due to the loud nature of the lamentation process. In fact, there is a scene in the Lysistrata, a play by Aristophanes, where the lamentations of the women celebrating the Adonia drown out those of the male characters who are attempting to hold an Assembly.Aristophanes, Lysistrata
Types of Musical Lament
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Musical form
There is a short, free musical form appearing in the Baroque music and then again in the Romantic music periods, called lament. It is typically a set of harmonic variations in Homophony texture, wherein the bass (Lament bass) descends through a tetrachord, usually one suggesting a Minor scale.
See also
Notes
Further reading
External links
Greek laments (Thrênoi, Moirológia)
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