What is an epitaph. Terminological dictionary-thesaurus on literary criticism

Epitaph - a statement composed on the occasion of death and usually carved on a tombstone. Traditionally, epitaphs are written in poetic form, but there are also those written in prose. Most often, the epitaph is written by relatives or friends of the deceased, in some cases it is composed by the person himself before death, sometimes religious texts are applied to the tombstone. The epitaph honors the deceased, describes the details of his biography or merits, often relatives express their love and respect for the deceased in them, sometimes they contain last glory deceased or ironic statement.

The tradition of epitaphs has existed for many centuries, and during this time it has grown into a whole genre with its own canons and rules. Memento mori, meaning "remember death," is a common theme in classical epitaphs. Most often, tombstone inscriptions referred to a “traveler” or a wanderer walking along a cemetery or a road (in the old days they were often buried at the side of the road). Through the epitaph, the deceased enters into a dialogue with the reader, urging him to stop, learn something about the deceased and think about the inevitable end. life path. This tradition brought with it set expressions, later migrated to poetry: “Stop, traveler!” (Sta, viator!), "Stop" (Siste gradum), "He who reads" (Qui legis), "Here is buried" (Hic iacet).

Over time, the genre changed: in late antiquity, riddles were sometimes written on tombstones that offered to guess the name of the deceased; in the Middle Ages and the Renaissance, epitaphs were more like laudatory odes; in the 18th century, gravestone texts became mundane and more like a list of the relatives of the deceased. AT mid-nineteenth centuries, instead of epitaphs, short inscriptions with the name and years of the life of the deceased began to be written more often. In the second half of the 20th century, the genre of epitaphs regained popularity, and on tombstones reappeared short phrases and poems - touching or mournful, instructive or solemn, sometimes ironic.

Epitaphs - the history of the genre

The place of origin of the epitaph is considered to be Ancient Greece. The name of the genre comes from the Greek word ἐπιτάφιος (epitaphios), which literally means "over the grave" - ​​in ancient Greece It was a common custom to give funeral speeches at the funeral of warriors. Over time, the words of farewell began to be pronounced over the graves of ordinary citizens, and then they began to carve a funeral speech on a gravestone. This tradition dates back to the dawn of Greek civilization - there is mention of this rite in the Iliad, where the Trojan hero Hector speaks of his epitaph. The oldest epitaph that has come down to us was created in the 5th century BC. d.c. the great poet Simonides of Ceos, and it is dedicated to the Greek soldiers who fell in the battle with the Persians at Thermopylae:

Traveler, go raise up to our citizens in Lacedaemon,
That, keeping their covenants, here we perished with bones.

The Greek tradition of epitaphs spread to Judea and Rome, where it became part of Christian culture. The genre was so deeply rooted that even when the culture of Antiquity was forgotten, people continued to dedicate poems to the dead. But not only the Greeks and Christians tried to keep the memory of the dead in stone. Tombstone inscriptions were known in the ancient cultures of Babylon and Persia, and in Egypt they were a very important part of the entire funeral rite.

In the Middle Ages, the level of culture and education decreased significantly, and therefore only the highest nobility and the clergy could afford epitaphs. In those days, gravestone inscriptions were composed for kings, members of their families and closest associates. By the time of the late Middle Ages and the beginning of the Renaissance, the situation had changed, as the level of literacy among the nobility and the merchant class increased. Interest in antiquity grew, along with it the desire for luxury, and therefore immutable attribute many necropolises were tombstones with epitaphs in tens or even hundreds of lines. By the New Age one could come across gravestone texts of various kinds. The graves of scientists were decorated with brief thoughtful sayings, nobility and statesmen solemn verses were preferred, while merchants were inclined to enumerate the relatives of the deceased and his merits. Sometimes even monarchs practiced writing epitaphs - for example, Empress Catherine II the Great wrote a playful auto-epitaph for herself.

“Here lies Catherine the Second, who was born in Stettin on April 21, 1729. She arrived in Russia in 1744 to marry Peter III. Fourteen years old, she had a triple intention - to please her husband, Empress Elizabeth and the people. She did not forget anything in order to be in time in this. During eighteen years of boredom and solitude, she reluctantly read many books. Having ascended the Russian throne, she wished well and tried to bring happiness, freedom and property to her subjects. She forgave easily and did not hate anyone. Merciful, courteous, naturally cheerful, with a republican soul and with good heart she had friends. Work was easy for her, she loved the arts and being in public.

In the first quarter XIX centuries, the epitaph was a popular genre of poetry, and fictional (as they would now say "fake") were published in literary magazines,. By the middle of the 19th century, interest in tombstone in an educated environment began to fall, but the spread of literacy led to the fact that more and more ordinary people began to order epitaphs for the graves of their loved ones. Often they were written in prose and are much more ironic than the gravestone inscriptions of past centuries.

Epitaphs came to Russia quite late - in the 17th century. First known Russian epitaph dates back to 1681 - this is a verse of 50 lines written by the monk Herman on the grave of Patriarch Nikon. Subsequently, epitaphs gained popularity in Russian Empire. Among the authors of the epitaphs were the poets G.R. Derzhavin and N.I. Gnedich, M.Yu. Lermontov and A.S. Pushkin. The second half of the 19th century was marked by the displacement of this poetic genre in favor of mourning verses. In the USSR, epitaphs were not widely used and remained rather the prerogative of honored figures of the country and special memorials. One of the most famous epitaphs Soviet Union carved on the tomb of the Unknown Soldier: Your name it is not known, your feat is immortal. In the 90s. of the last century, interest in epitaphs began to grow again - now they are on 10-15% of burials, and their popularity continues to grow.

Epitaphs on the graves of great people

“The rights of the sovereign, the heavens, the waters of Phlegeton, I sang, walking along my earthly vale. Now my soul has gone to better world and blissful, contemplating among the luminaries of his Creator, here I rest, Dante, expelled from the fatherland, native Florence, a little loving mother.
(Dante Alighieri, auto-epitaph) "No epitaph can express the full grandeur of this name."
(Niccolò Machiavelli)" “But there is something in me that will not die,
What neither death nor time flight,
Neither slander will destroy enemies,
That in the repeated echo will come to life.
(Niccolò Machiavelli)" “I am ready to meet my Creator. Whether he is ready for such a difficult test as meeting me is another question.
(Nicholas Copernicus)" "He who stopped the sun - moved the earth."
(Niccolò Machiavelli)" "He plucked the lightning from the sky, and then the scepters from the tyrants."
(Benjamin Franklin)" “Workers of all countries unite. Philosophers only in various ways explained the world, but the point is to change it.”
(Karl Marx)"

Curious epitaphs

“Passer-by, you are walking, not lying like me. Stay and rest on my coffin.
Tear off the blade and remember fate.
I'm home. You are visiting. Think about yourself.
Like you, I was alive
You will die, like me ... ".
(common in the 19th century tombstone inscription, version from the grave of M.E. Saltykov-Shchedrin)” “Hipponact lies here, who composed songs for us.
Don't go near his hill, if you're stupid.
But if you are truthful and from an honest family,
Then feel free to sit down and, if you are tired, sleep here.
(ancient Greek epitaph)" “Do not cry that mortal ashes are placed in this urn of the Pathfinder Pierre,
Pierre traveled a lot around the world, But he had not yet been to heaven. ".
(Niccolò Machiavelli)" "The best is yet to come".
(Frank Sinatra)" "This house doesn't pay taxes on chimneys. No wonder old Rebecca couldn't resist such a place."
(epitaph on a grave in Folkestone, England)" "I loved you and you loved me, thank you for burying me."
(epitaph on a grave in Jerusalem, Israel)" “Here lies Esther Wright, whom God called to himself. Her inconsolable husband, Thomas Wright, America's finest stonecutter, hand-crafted this inscription and is willing to do the same for you for $250."
(epitaph on a grave in Minneapolis, USA)"

Modern epitaphs on graves in Russia

“If not for these boards, My dear,
We would definitely have a drink with you." “Harmony is the reverse face of decay.
My fence is the demarcation line." "Body! Let your spirit be short:
Now you will avoid patches!” “I just lay down to rest.
And the doctor immediately: Died? To the morgue!

There are even inscriptions on the plots reserved for future burial.

"When I suddenly lie down here,
Lord, take me there. "When my soul leaves my body,
Lord, take me to work. When "everything was, is and will be",
Let the Lord lend me a body from the needle.

The term "epitaph" comes from the Greek epitaphios - tombstone. The epitaph is an inscription on the monuments, which is often made in poetic form. In the epitaph, people express their emotions and feelings associated with the loss loved one. There are also epitaphs in which the deceased himself allegedly addresses passersby, such as "Wait, passerby! ...".

The ancient Greeks called the epitaph the speech that was read over the coffin, later they began to understand the funerary inscription printed on the stone as an epitaph. In our time, the epitaph can be distinguished in separate genre poetry. For example, in Japan, the writing of epitaphs is elevated to the rank of art. Tombstone inscriptions in this country are characterized by brevity, impeccable conciseness and traditional Japanese imagery. Here is an example of a Japanese epitaph: "Too late to cover the gravestone with a warm blanket."

Rice. 1 Church of John the Baptist

In Kerch, in the Church of John the Baptist, there is one of the most significant in the world cultural heritage collections of various antique tombstones. A visit to this church becomes an event that will forever be engraved in memory. A special energy emanates from the epitaphs in the church, and the rumble of steps when moving from stone to stone creates a special atmosphere.

Rice. 2 epitaph

Although the art of epitaph originated in Ancient Greece, but the first examples of gravestone inscriptions appeared earlier. For example, the ancient Egyptians painted funerary sarcophagi. In addition to information about the deceased, there were lines on the sarcophagi dedicated to the buried.

The ancient Jews also had a tradition of leaving funerary inscriptions.

Rice. 3 epitaph with drawing

This type of art also existed among the Slavs, but it received its distribution later. Before inscriptions began to be written on tombstones, white empty slabs were widespread. For example, the oldest such burial (XIII century) was found in the Moscow Kremlin. After a while, an ornament in the form of circles appeared on the white plates. different sizes. And after some time, epitaphs began to be applied to the tombstones.

Rice. 4 verse epitaph

Interesting examples of epitaphs are characteristic of graves famous people: officials, military leaders, church ministers and writers who are buried in the Alexander Nevsky Lavra. There are a huge number of epitaphs that were written by great poets, as well as ruling persons. There are also ignorant tombstones in history, which most often belong to the merchants.

Although the epitaph is far from a humorous genre, the inscriptions on some tombstones make you smile. Of course, it's good when, despite the tragic event that happened in life, there is strength to come up with something fun, life-affirming.

Rice. 5 epitaph-appeal

The epitaph was the forerunner of the epigram. What was an epigram? The epigram practically did not differ in anything from the epitaph, it was a similar inscription on a statue, stone, deity, applied to honor the memory of the deceased. Over time, such inscriptions were shortened, turning into summary life experience and the way of man, a kind of result. Later, satirical everyday sketches began to appear, which became an epigram in the usual modern man form.

An interesting reverse example can be observed, when the epigram turns to the epitaph for help and acts as a convenient form for expressing thoughts. It is not uncommon for gravestones to contain epigrams or even auto-epigrams.

The epigram genre reached its peak in France in the 16th century. Over time, it was adopted by the literature of various other countries.

"Black English humor” in its content has similar features with a literary epigram, which expresses a clear, paradoxical irony over the strict and most terrible in the life of every person. The epigram in England quickly penetrated into public life.

Thus, the epitaph is one of the best semantic options for honoring the memory of the deceased. With the help of an epitaph, you can forever leave a mark in the memory of your descendants.

(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 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

30px	Epitaph in Wiktionary
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	Epitaph in Wikisource
30px	[((localurl:Commons:Category: Lua error: callParserFunction: function "#property" was not found. ))?uselang=en Epitaph] at Wikimedia Commons

• - 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 ...
About an hour later, 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 ...

What is "EPITAPHI"? What is the correct spelling of this word. Concept and interpretation.

EPITAPH EPITAPHY - a memorial inscription on a tombstone (?????????? - tombstone): limited by the smallness of the tombstone, addressed, in most cases, to the "passerby", i.e. hurrying by - 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 complete poetic creativity, since it is directed not at what the poet created, but at what was given to him. real face, then 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”, requiring (and not always unsuccessfully) to build a “positive image” of a person, by means of ingenious ordinary 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-writers of memorial verses and sayings (their existence, like the existence of hired "lamentations", is beyond doubt), of course, is helped by the poetry of the cemetery itself: some - Rest in peace, dear friend. Sprinkling your ashes with a tear, And I'm from all the vanities - I'm waiting for the time - to be with you, taken out of context, turned off from the cemetery fence, completely powerless and elementary-naive - but surrounded by crosses, inside the fence, these verses receive a certain tone, turning in almost verse. 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 past. Examples: a) "And you are in the land of the living." (Simonov monastery. 1834). "Like a lily among summer days Withered in beauty So you, O daughter, in the midst of flattering hopes, 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 left the heat of the sun, looking for shade and peace”, Campo Santo in Venice). b) Passerby, you You go, But you lie down like I do. Sit down and rest On my stone; Tear off the blade of grass And remember your fate - I'm at home ... you're away: Think about yourself. (Volkovo cemetery in St. Petersburg). To this type ordinary quotations should also be included, forcing the grave of a poet and writer to repeat the words of those buried in it.See for example the graves of H. Heine (Paris, Montmartre cemetery), A. Musset (Paris. cemetery);P?re Lachaise on the tombstone N. A. Panova (Volkovo Kl.; Literat. Mostki): My whole life is in literature; literature is my life.” c) “A voice from the tombstone, coming: Oh, you who walk by and look at the tombs, come closer; I will also read you my poems: The body that I am hiding in this place ... ", etc. (Donskoy monast. 1896). With the last kind of epitaphic concept - the letters, as it were, by themselves, by the will of the stone, are simple solder 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, further losing the lengthy ornateness that replaced in early XIX in. 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 individual experiences 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". The purely literary epitaph appears initially as a rival to the gravestone. The epitaphs of Simonides (fifth 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, striving for greater dramatization, usually changes "he" to "you", but retains the distich form. The good tradition of 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 epochs that carried the epitaph out of the cemeteries, the production of writers very soon outstrips the production of death. As a result, lifetime epitaphs arise, 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 not 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, as an image, can become subject (subjectum) to creative judgment not before he lies under an epitaph, or only when, by the power of poetic imagination, he is “isolated” (I take the term of Hamannian aesthetics) from life, taken as its feature, excluded from life. flowing living "today" (on ancient Moscow tombstones: "ended over ... and buried here") and buried in the book. In this sense, epitaphism is a factor in all artistic and objectivizing creativity, and Petrarch, who even during the life of Laura wrote a sonnet on her death (see sonnet 193), perhaps as a person violated good morals, but as a poet he only obeyed one from 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.

EPITAPH- (Greek ?????????) - tombstone inscription. E.'s appearance belongs to the remotest antiquity. In the ancient ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

EPITAPH- (from the Greek epitaphios - tombstone) grave inscription, mostly in verse: sky ... Great Soviet Encyclopedia

EPITAPH- EPITAPHY, epitaphs, g. (from the Greek epitaphios - tombstone) (book). Tombstone, tomb inscription .... Ushakov's Explanatory Dictionary

EPITAPH- and. 1. Tombstone inscription. 2. Literary work written in connection with smb. death ... Explanatory Dictionary of Efremova

EPITAPH- EPITAPHY (from the Greek epitaphios - tombstone), a tombstone inscription, mainly in verse; ... Modern Encyclopedia

EPITAPH- EPITAPHY (from the Greek epitaphios - tombstone) - a tombstone inscription, mainly in verse; in po...

Translated from Greek, an epitaph is an inscription on a tombstone, invented in the event of a person's death. Tombstone inscriptions can be in the form of poetic sayings, as well as elementary words of sorrow. The epitaphs that are written on mourning monuments are often short, but carry the deepest philosophical meaning. Funeral inscriptions show good relations to the deceased, a description of his most important everyday qualities, sayings or words that the deceased himself spoke about himself during his lifetime or which he intended to leave on his monument.

Basically epitaphs are last words left by relatives and close people seeing off in last way the deceased, given the emotions they are experiencing. You can express your special attitude towards a dear and close person who has passed away from life in an interestingly designed monument, by formulating your feelings in a brief commemorative inscription addressed to the deceased. The funeral home "Mourning" offers a choice of epitaphs that our workers can write on the monument, or you can give your own text. The epitaph is made by bronzing letters or by engraving.

Epitaphs for mom

In order to correctly select the inscription on the tombstone, mother needs to look through the collection of epitaphs dedicated to the dearest and closest person in everyone's life. Our funeral home invites you to familiarize yourself with the best versions these small creations, among them, you can find the very lines through which you can express your emotions and resurrect a clear image of the mother. Epitaphs on the mother's tombstone can be made in a special font that will complement the entire picture of the monument.

• I will kneel before your chastity, Love and pain, guilt and sorrow with tears.
• The warmth of your soul remains with Us...
• Leaving life, you still live, You, in our thoughts, dreams.
• To your premature grave, our path will not be overgrown. Your native image, your dear image, will always lead us here.
• You left life too early, Words will not show our pain, Rest, dear, you are our pain and wound, But the memory of you is alive for centuries ...

Epitaphs to the father

The grave inscription to the father is considered one of the shortest creations. They fit the clearest feelings and broadcast much more about your emotions than lanky sayings. In our section you can pick up the most touching and deepest epitaphs, which only awaken bright feelings, recalling how close and kind-hearted the deceased was.

• You are gone from life, but not from the heart.
• To the one who was valuable during his lifetime, From those who love and grieve.
• Having left Us, you still live in our thoughts and dreams. You cannot test what is given by fate. We remember you in joy and in sadness.
• He did not die and did not die. He left and somewhere close ...
• He lived with dignity, despondency does not count, Respect and honor remained in the memory.
• Father! You left, and there is no return for you, But your life has not passed in vain ... Our loss is all the more difficult.

Epitaphs for parents

uncomplicated, light work this kind is extremely rare. After all, so much needs to be conveyed in relation to those whom we loved so much during life and love after death. An epitaph to parents on a common monument can be presented in various styles to recreate best features character.

• His / her whole life was spent in the works tirelessly
• Teaching acceptance of one's death is the last gift of parents.
• You have not left, even though you are true to the earth. You are forever alive in the memory of your loved ones!
• Many thanks to children and grandchildren and warm memories!
• Spring of life, faith and love for loving descendants.

Epitaphs for children

• The death of a loved one is the greatest pain that a person feels. When children die, parents lose a piece of themselves, forever lose their native blood. In the epitaph to children it is expressed deep pain and maternal tears are visible, the words themselves express sorrow.
• I see your face in every cradle, And I know that you protect me.
• Oh dear child, my dear. O poor thing, forgive me! My soul was burned in that fire That rushed like a tornado to mortals across the country.
• Oh, how many souls who loved you, Oh, how many kindred hearts - Hearts that lived your life, Your premature end will strike!

Mourning inscriptions must be ordered exclusively from real masters who will help to arrange the burial place beautifully and correctly and arrange everything artistic elements in composition.