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14-671: Known in English as the " Threnody at the Tomb", its other Greek name, Encomia Epitafiou (Greek: Εγκώμια επιταφίου), "Praises of the Tomb", could assimilate it with a form of encomium or praise rather than lament . The pagan encomium is the source of the Christian panegyric, and the Epitaphios Thrinos was therefore a form of panegyric for Christ. The early manuscripts for the liturgy of Holy Saturday do not seem to mention

28-569: A memorial to a dead person. The term originates from the Greek word θρηνῳδία ( threnoidia ), from θρῆνος ( threnos , "wailing") and ᾠδή ( oide , "ode"), the latter ultimately from the Proto-Indo-European root * h₂weyd- ("to sing") that is also the precursor of such words as "ode", "tragedy", "comedy", "parody", "melody" and "rhapsody". Similar terms include " dirge ", " coronach ", " lament " and " elegy ". The Epitaphios Threnos

42-823: Is a Greek singer and also a political and cultural activist. She has collaborated with Greek composers such as Mikis Theodorakis , who wrote the score for Pablo Neruda 's Canto General , which Farantouri performed worldwide. During the Greek military junta of 1967–1974 , Maria Farantouri recorded protest songs in Europe with Mikis Theodorakis. In 1971, she recorded Songs and Guitar Pieces by Theodorakis with Australian guitarist John Williams which included seven poems by Federico García Lorca . She has recorded songs in Spanish (' Hasta Siempre Comandante Che Guevara'), Italian, and English ("Joe Hill" and Elisabeth Hauptmann 's Alabama Song from Bertolt Brecht 's Rise and Fall of

56-594: Is the lamentation chanted in the Eastern Orthodox Church on Holy Saturday . John Dryden commemorated the death of Charles II of England in the long poem Threnodia Augustalis , and Ralph Waldo Emerson wrote a "Threnody" in memory of his son. In written works: In classical music: In jazz : In film and other music: Maria Farantouri Maria Farantouri or Farandouri ( Greek : Μαρία Φαραντούρη ; born 28 November 1947 in Athens )

70-465: Is thy beauty? Son of God almighty, my God my Creator, how can I accept passion? Myrrh-bearers flowed over the grave, early in the morning you came. O Triune God of mine, Father, Son and Spirit, have mercy on the world. See that your Son, Once Risen, O Virgin, may make his servants worthy. These lyrics served as models for the creation of similar ones for the Dormition of

84-511: The Encomia . The first reference to encomia is found in manuscripts of the thirteenth century in connection with Psalm 118 , known as the Amomos . Their number, however was undefined, and it appears that the collection grew gradually to its present form, resulting in many variations among the collections. The repertoire of the Encomia lamentations first appeared as such in the 1522 edition of

98-888: The Panhellenic Socialist Movement (PASOK). She is married to the poet and former politician Tilemachos Chytiris . On 23 September 2004, the President of the Hellenic Republic recognized the contribution of Maria Farantouri to Greek song, awarding her the Gold Cross of the Order of the Phoenix. She was awarded the Premio Tenco Italian Award 2014 for her contribution to international contemporary and traditional music, and

112-649: The City of Mahagonny ), George Gershwin's works, as well as works by Greek composers Manos Hatzidakis , Eleni Karaindrou and Vangelis . Her voice is contralto with two octaves. The international press called her a people's Callas (The Daily Telegraph), and the Joan Baez of the Mediterranean (Le Monde). Maria Farantouri was an elected member of the Greek Parliament from 1989 to 1993 representing

126-728: The Monk could be associated with the Encomia but no strong evidence for any of the above has been given to confirm their authorship. The lyrics of the Encomia would be particularly long to quote in full, but the emotions they convey can be seen from this short abstract of the third stasis on the entombment of Christ: γλυκύτατόν μου Τέκνον, πού έδυ σου το κάλλος; Υιέ Θεού παντάναξ, Θεέ μου πλαστουργέ μου, πώς πάθος κατεδέξω; Έρραναν τον τάφον αι Μυροφόροι μύρα, λίαν πρωί ελθούσαι. Ω Τριάς Θεέ μου, Πατήρ Υιός και Πνεύμα, ελέησον τον κόσμον. Ιδείν την του Υιού σου, Ανάστασιν, Παρθένε, αξίωσον τους δούλους σου. my sweetest Son, where

140-551: The Passion, Death and Entombment of Christ. Each statis is commonly known by its first phrase; in Greek these are: At the beginning of each stasis , the priest or deacon performs a censing of the epitaphios . In the Greek tradition, at the third and final stasis , the priest will sprinkle rosewater on the epitaphios and the congregation, symbolising the anointing of Christ's body with spices. All three of stasis end with

154-468: The Virgin , for Saint Nicholas and others. In addition to the cantors of Byzantine music, the eulogies have been performed and recorded by various contemporary Greek and international artists, such as Maria Farantouri , Glykeria , Haris Alexiou , Petros Gaitanos , Fairuz and others. Threnody A threnody is a wailing ode, song , hymn or poem of mourning composed or performed as

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168-838: The editions of the Triodion the Encomia appear before the Canon in the order of the Orthros of Great Saturday while the same Encomia appear after the Canon for the Patriarchal Text of Great Week. The verses of these Lamentations are interspersed between the verses of Psalm 118 (the chanting of this psalm forms a major part of the Orthodox funeral service as well as being a usual part of Saturday Matins). The Lamentations are divided into three sections called stáses , which commemorate

182-656: The same eulogy they begin while the officiating priest or high priest incenses the epitaph on all four sides. While some musical settings have famous authors or interpreters, the author of the Encomia remains unknown. Famous hymnographers of the Holy Week hymns, including Andrew of Crete , Cosmas of Maiuma , John of Damascus , Theophanes the Confessor , Theodore the Studite , Joseph the Hymnographer , and Mark

196-857: The service book of the Orthodox Church Triodion , printed in Venice . Subsequent editions have relied heavily on this source. According to the Lenten Triodion as well as the 1906 edition of the Patriarchal Text , there are 185 verses in the Epitaphios Thrinos divided into three stasis or sections. However, the Triodion and the Patriarchal text do not concur as to the placement of the Epitaphios: in all

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