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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. ==History== Many of the oldest and most lasting poems in human history have been laments.〔Linda M. Austin, "The Lament and the Rhetoric of the Sublime" ''Nineteenth-Century Literature'' 53.3 (December 1998:279-306) traces the literary rhetoric evoking a voice crying.〕 Laments are present in both the ''Iliad'' and the ''Odyssey'', and laments continued to be sung in elegiacs accompanied by the aulos in classical and Hellenistic Greece.〔Margaret Alexiou, ''Ritual Lament in Greek Tradition'' (Cambridge University Press) 1974〕 Lament elements figure in ''Beowulf'', in the Hindu Vedas, and in ancient Near Eastern religious texts, including the Mesopotamian city laments such as the Lament for Ur and the Jewish Tanakh, (which would later become the Christian Old Testament). 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) 1993:160-82.〕 Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the ''Iliad''〔Batya Weinbaum, "Lament Ritual Transformed into Literature: Positing Women's Prayer as Cornerstone in Western Classical Literature" ''The 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".〔Austin 1998:280f.〕 The Book of Lamentations or ''Lamentations of Jeremiah'' figures in the Old Testament. In art the ''Lamentation of Christ'' (under many closely variant terms) is a common subject from the ''Life of Christ'', showing his dead body being mourned after the Crucifixion. A Lament in The Book of Lamentations or in the Psalms (in the particular 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 Brueggeman, ''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 D. 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 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.〔Michael Coogan, ''A Brief Introduction to the Old Testament'' (Oxford: Oxford University Press, 2009) 370〕 Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively.〔Michael Coogan, ''A Brief Introduction to the Old Testament,'' (Oxford: Oxford University Press, 2009) 370〕 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 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 arias 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" (Henry Purcell, ''Dido and Aeneas''), "Lascia ch'io pianga" (Georg Friedrich Handel, ''Rinaldo''), "Caro mio ben" (Tomasso 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 ''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 I of ''Der Rosenkavalier'' can be understood as a penetrating psychological lament.〔Called "the Marschallin's Act I lament", in Jeremy Eichler, "Lushly Lamenting the Wages of Time and a Lost Golden Age" opera review in ''The New York Times'' March 15, 2005.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lament」の詳細全文を読む スポンサード リンク
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