1. Tradition and change in antiquity μή μ᾽ ἄκλαυτον ἄθαπτον ἰὼν ὄπιθεν καταλείπειν,νοσφισθείς, μή τοί τι θεῶν μήνιμα γένωμαι. Od. 11.72-3 Don’t abandon me, don’t leave me behind, unwept and unburied,lest I become a visitation upon you from the gods. The first… Read more
2. From paganism to Christianity We have seen in the first chapter how the function and purpose of the lament changed in accordance with the historical developments of antiquity. What was the impact of the economic, social and religious upheavals which accompanied the decline of the ancient… Read more
3. Modern survivals In a country with a large rural population like Greece, where geographical conditions and backward communications have led to the growth of isolated and self-contained communities, each preserving distinct its local dialect and traditions, it is natural to find many pre-Christian survivals, especially in… Read more
4. The ritual lament for gods and heroes The close connection between ritual and lamentation analysed in Part I suggests that the traditional lament for the dead fulfils a dual function: objectively, it is designed to honour and appease the dead, while subjectively, it gives expression to… Read more
5. The historical lament for the fall or destruction of cities Laments for cities are inspired initially by historical events. They do not belong essentially to the same group of ritual, functional songs as the laments for the dead or for gods which have been discussed so… Read more
6. The classification of ancient and modern laments and songs to the dead The difficulties involved in making a satisfactory classification of ancient types of lament arise from the conflicting nature of the evidence. Classical and post-classical poetic usage tended to treat the various terms as synonymous,… Read more
7. Antiphonal structure and antithetical thought So far we have considered the lament for the dead both in relation to the funeral ritual of which it is still an integral part, and in relation to other kinds of ritual laments and songs to the dead. The similarities… Read more
8. Conventions, themes and formulae We have seen in the last chapter that the structure of the ancient thrênos had much in common with the structure of the hýmnos, enkómion and epitáphios. The same is true of many of the ideas. [1]… Read more
Basic Biographical Information about Singers Dilić, Haska Born in early 1890s in Plana59 songs in the Parry Collection; 1 included here Dizdarević, Đula Born in mid 1860s in Mulji338 songs in the Parry Collection; 13 included here Hrustanović, Hasnija Born in late 1860s/early 70s in Kula Fazlagića… Read more
Conversations Hasnija Hrustanović’s biography and family background as told by her son Ibrahim Hrustanović Interview conducted by Nikola Ivanov Vujnović in Gacko, 1935. Hard cover notebook no. 11Text 6314, phonograph records 2999-3002 Nikola: You wrote down songs by Hasnija Hrustanović? Ibrahim: Yes, she is my mother. (…) Nikola: How… Read more
