istory[edit]
The origin of the word is uncertain, but a Welsh origin has been suggested as fabric similar to flannel can be traced back to Wales, where it was well known as early as the 16th century. The French term flanelle was used in the late 17th century, and the German Flanell was used in the early 18th century.[1]
Flannel has been made since the 17th century, gradually replacing the older Welsh plains, some of which were finished as "cottons" or friezes, which was the local textile product. In the 19th century, flannel was made particularly in towns such as Newtown, Montgomeryshire,[2] Hay on Wye,[3] and Llanidloes.[4] The expansion of its production is closely associated with the spread of carding mills, which prepared the wool for spinning, this being the first aspect of the production of woollen cloth to be mechanised (apart from fulling). The marketing of these Welsh woollen clothes was largely controlled by the Drapers Company of Shrewsbury.[5][6][7]
At one time Welsh, Yorkshire, Lancashire and Irish flannels differed slightly in character due largely to the grade of raw wool used in the several localities, some being softer and finer than others. While nowadays, the colour of flannel is determined by dyes, originally this was achieved through mixing white, blue, brown and black wools in varying proportions. Lighter shades were achieved by bleaching with sulphur dioxide.[8]
Originally it was made of fine, short staple wool, but by the 20th century mixtures of silk and cotton had become common. It was at this time that flannel trousers became popular in sports, especially cricket, in which it was used extensively until the late 1970s.
The use of flannel plaid shirts was at peak in the 1990s with popular grunge bands like Nirvana and Pearl Jam using them as one of the trademarks of their shaggy look. However, few of the mass-produced plaid shirts available at the time were actually made out of flannel. The association between flannel and plaid has led to the use of flannel as a synonym for plaid.
Types[edit]
Flannelette typically refers to a napped cotton fabric imitating the texture of flannel. The weft is generally coarser than the warp. The flannel-like appearance is created by creating a nap from the weft; scratching it and raising it up. Flannelette can either have long or short nap, and can be napped on one or two sides. It comes in many colours, both solid and patterned.[9]
Baby flannel is a lightweight fabric used for childrenswear.[10]
Cotton flannel or Canton flannel is a cotton fabric napped on one side or two sides.
Ceylon flannel was a name for a wool and cotton mixture.[8]
Diaper flannel is a stout cotton fabric napped on both sides, and used for making cloth diapers.
Vegetable flannel, invented by Léopold Lairitz in Germany in the 1800s, uses fibres from the Scots pine rather than wool.[11]
Weave[edit]
Flannel, flannelette, and cotton flannel can be woven in either a twill weave or plain weave. The weave is often hidden by napping on one or both sides. After weaving, it is napped once, then bleached, dyed, or otherwise treated, and then napped a second time.[citation needed]" (wikipedia.org)
"Tartan (Scottish Gaelic: breacan [ˈpɾʲɛxkən]) (Irish: breacán) is a patterned cloth consisting of criss-crossed, horizontal and vertical bands in multiple colours. Tartans originated in woven wool, but now they are made in many other materials. Scottish tartans usually represent a clan whilst Irish tartans usually represent the county or region where a clan originated.
Tartan is made with alternating bands of coloured (pre-dyed) threads woven as both warp and weft at right angles to each other. The weft is woven in a simple twill, two over—two under the warp, advancing one thread at each pass. This forms visible diagonal lines where different colours cross, which give the appearance of new colours blended from the original ones. The resulting blocks of colour repeat vertically and horizontally in a distinctive pattern of squares and lines known as a sett. Tartan is often called "plaid" (particularly in North America),[2] but in Scotland, a plaid is a large piece of tartan cloth, worn as a type of kilt or large shawl. The term plaid is also used in Scotland for an ordinary blanket such as one would have on a bed.[3]
The Dress Act of 1746 attempted to bring the warrior clans under government control by banning the tartan and other aspects of Gaelic culture. When the law was repealed in 1782, it was no longer ordinary Highland dress, but was adopted instead as the symbolic national dress of Scotland, a status that was widely popularised after King George IV wore a tartan kilt in his 1822 visit to Scotland. Until the middle of the nineteenth century, the highland tartans were only associated with either regions or districts, rather than any specific Scottish clan. This was because like other materials, tartan designs were produced by local weavers for local tastes and would usually only use the natural dyes available in that area, as synthetic dye production was non-existent and transportation of other dye materials across long distances was prohibitively expensive. The patterns were simply different regional checked-cloth patterns, chosen by the wearer's preference—in the same way as people nowadays choose what colours and patterns they like in their clothing, without particular reference to propriety. It was not until the mid-nineteenth century that many patterns were created and artificially associated with Scottish clans, families, or institutions who were (or wished to be seen as) associated in some way with a Scottish heritage.[4] The Victorians' penchant for ordered taxonomy and the new chemical dyes then available meant that the idea of specific patterns of bright colours, or "dress" tartans, could be created and applied to a nostalgic view of Scottish history.
Today tartan is no longer limited to textiles, but is also used as a name for the pattern itself, appearing on media such as paper, plastics, packaging, and wall coverings....
Etymology and terminology
Tartan weaving in Lochcarron, Scottish Highlands
The English and Scots word "tartan" is most likely derived from the French tartarin meaning "Tartar cloth".[6] It has also been suggested that "tartan" may be derived from modern Scottish Gaelic tarsainn,[7] meaning "across". Today "tartan" usually refers to coloured patterns, though originally a tartan did not have to be made up of any pattern at all. As late as the 1830s tartan was sometimes described as "plain coloured ... without pattern".[8] Patterned cloth from the Gaelic-speaking Scottish Highlands was called breacan, meaning many colours. Over time the meanings of tartan and breacan were combined to describe certain type of pattern on a certain type of cloth. The pattern of a tartan is called a sett. The sett is made up of a series of woven threads which cross at right angles.[8]
Today tartan is generally used to describe the pattern, not limited to textiles.[8] In North America the term plaid is commonly used to describe tartan.[3] The word plaid, derived from the Scottish Gaelic plaide, meaning "blanket",[9] was first used of any rectangular garment, sometimes made up of tartan, particularly that which preceded the modern kilt (see: belted plaid). In time, plaid was used to describe blankets themselves.[3]
Construction
Each thread in the warp crosses each thread in the weft at right angles. Where a thread in the warp crosses a thread of the same colour in the weft they produce a solid colour on the tartan, while a thread crossing another of a different colour produces an equal mixture of the two colours. Thus, a set of two base colours produces three different colours including one mixture. The total number of colours, including mixtures, increases quadratically with the number of base colours so a set of six base colours produces fifteen mixtures and a total of twenty-one different colours. This means that the more stripes and colours used, the more blurred and subdued the tartan's pattern becomes.[8][10]
The sequence of threads, known as the sett, starts at an edge and either repeats or reverses on what are called pivot points. In diagram A, the sett reverses at the first pivot, then repeats, then reverses at the next pivot, and will carry on in this manner horizontally. In diagram B, the sett reverses and repeats in the same way as the warp, and also carries on in the same manner vertically. The diagrams left illustrate the construction of a "symmetrical" tartan. However, on an "asymmetrical" tartan, the sett does not reverse at the pivots, it just repeats at the pivots. Also, some tartans (very few) do not have exactly the same sett for the warp and weft. This means the warp and weft will have alternate thread counts.
Tartan is recorded by counting the threads of each colour that appear in the sett.[a] The thread count not only describes the width of the stripes on a sett, but also the colours used. For example, the thread count "K4 R24 K24 Y4" corresponds to 4 black threads, 24 red threads, 24 black threads, 4 yellow threads.[11] Usually the thread count is an even number to assist in manufacture. The first and last threads of the thread count are the pivot points.[5] Though thread counts are indeed quite specific, they can be modified in certain circumstances, depending on the desired size of the tartan. For example, the sett of a tartan (about 6 inches) may be too large to fit upon the face of a necktie. In this case the thread count has to be reduced in proportion (about 3 inches).[11]
Diagram A, the warp
Diagram B, the weft
Diagram C, the tartan. The combining of the warp and weft.
Colour: shades and meaning
The colour of the Clan MacLeod tartan was described in an 1829 letter by Sir Thomas Dick Lauder to Sir Walter Scott; "MacLeod (of Dunvegan) has got a sketch of this splendid tartan, three black stryps upon ain yellow fylde".
The shades of colour in tartan can be altered to produce variations of the same tartan. The resulting variations are termed: modern, ancient, and muted.[b] These terms only refer to dye colours.[12]
Modern colours
Describes a tartan that is coloured using chemical dye, as opposed to natural dye. In the mid-19th century natural dyes began to be replaced by chemical dyes which were easier to use and were more economic for the booming tartan industry. Chemical dyes tend to produce a very strong, vivid colour compared to natural dyes. In modern colours, setts made up of blue, black, and green tend to be obscured.
Ancient colours
Refers to a lighter shade of tartan. These shades are meant to represent the colours that would result from fabric aging over time.
Muted colours
Also called reproduction colours, refers to tartan which is shade between modern and ancient. Although this type of colouring is very recent, dating only from the early 1970s, these shades are thought to be the closest match to the colours attained by natural dyes used before the mid-19th century.
The idea that the various colours used in tartan have a specific meaning is purely a modern one. One such myth is that red tartans were "battle tartans", designed so they would not show blood. It is only recently created tartans, such as Canadian provincial and territorial tartans (beginning 1950s) and US state tartans (beginning 1980s), that are designed with certain symbolic meaning for the colours used. For example, the colour green sometimes represents prairies or forests, blue can represent lakes and rivers, and the colour yellow is sometimes used to represent various crops.[13]
History
Pre-medieval origins
The earliest image of Scottish soldiers wearing tartan, 1631 German engraving.[14][c]
Today tartan is mostly associated with Scotland; however, the earliest evidence of tartan is found far afield from Britain. According to the textile historian E. J. W. Barber, the Hallstatt culture of Central Europe, which is linked with ancient Celtic populations and flourished between the 8th and 6th centuries BC, produced tartan-like textiles. Some of them were discovered in 2004, remarkably preserved, in the Hallstatt salt mines near Salzburg, Austria.[7] Textile analysis of fabric from the Tarim mummies in Xinjiang, northwestern China has also shown it to be similar to that of the Iron Age Hallstatt culture.[15] Tartan-like leggings were found on the "Cherchen Man", a 3,000 year-old mummy found in the Taklamakan Desert.[16] Similar finds have been made in central Europe and Scandinavia.[8]
The earliest documented tartan in Britain, known as the "Falkirk" tartan, dates from the 3rd century AD. It was uncovered at Falkirk in Stirlingshire, Scotland, near the Antonine Wall. The fragment, held in the National Museums of Scotland, was stuffed into the mouth of an earthenware pot containing almost 2,000 Roman coins.[17] The Falkirk tartan has a simple check design, of natural light and dark wool. Early forms of tartan like this are thought to have been invented in pre-Roman times, and would have been popular among the inhabitants of the northern Roman provinces[18][19] as well as in other parts of Northern Europe such as Jutland, where the same pattern was prevalent.[20][21][22]
Early modern tartans
John Campbell of the Bank, 1749. The present official Clan Campbell tartans are predominantly blue, green and black.[23]
The tartan as we know it today is not thought to have existed in Scotland before the 16th century. By the late 16th century there are numerous references to striped or checkered plaids. It is not until the late 17th or early 18th century that any kind of uniformity in tartan is thought to have occurred.[24] Martin Martin, in A Description of the Western Islands of Scotland, published in 1703, wrote that Scottish tartans could be used to distinguish the inhabitants of different regions. He expressly wrote that the inhabitants of various islands and the mainland of the Highlands were not all dressed alike, but that the setts and colours of the various tartans varied from isle to isle.[d] As he does not mention the use of a special pattern by each family, it would appear that such a distinction is a modern one.
For many centuries the patterns were loosely associated with the weavers of a particular area, though it was common for highlanders to wear a number of different tartans at the same time. A 1587 charter granted to Hector Maclean of Duart requires feu duty on land paid as 60 ells of cloth of white, black and green colours. A witness of the 1689 Battle of Killiecrankie describes "McDonnell's men in their triple stripes". From 1725 the government force of the Highland Independent Companies introduced a standardised tartan chosen to avoid association with any particular clan, and this was formalised when they became the Black Watch regiment in 1739.
The MacDonald boys playing golf, 18th century, National Galleries of Scotland
The most effective fighters for Jacobitism were the supporting Scottish clans, leading to an association of tartans with the Jacobite cause. Efforts to pacify the Highlands led to the Dress Act of 1746, banning tartans, except for the Highland regiments of the British army. "[I]t was probably their use of it which gave birth to the idea of differentiating tartan by clans; for as the Highland regiments were multiplied ... so their tartan uniforms were differentiated."[26]
The act was repealed in 1782, due to the efforts of the Highland Society of London. William Wilson & Sons of Bannockburn became the foremost weaving manufacturer around 1770 as suppliers of tartan to the military. Wilson corresponded with his agents in the Highlands to get information and samples of cloth from the clan districts to enable him to reproduce "perfectly genuine patterns" and recorded over 200 setts by 1822, many of which were tentatively named. The Cockburn Collection of named samples made by William Wilson & Sons was put together between 1810 and 1820 and is now in the Mitchell Library in Glasgow.[27] At this time many setts were simply numbered, or given fanciful names such as the "Robin Hood" tartan, not associated with any specific clan.
The absence of early clan tartans
David Morier's An Incident in the Rebellion of 1745. The eight featured highlanders in the painting wear over twenty different tartans.[28]
It is generally regarded that "clan tartans" date no earlier than the beginning of the 19th century, and are an example of an invented tradition. Contemporary portraits show that although tartan is of an early date, the pattern worn depended not on the wearer's clan, but rather upon his or her present affiliation, place of origin or current residence, or personal taste.
David Morier's well-known painting of the Highland charge at the Battle of Culloden (right) shows the clansmen wearing various tartans. The setts painted all differ from one another and very few of those painted resemble any of today's clan tartans.[29] It is maintained by many[who?] that clan tartans were not in use at the time of the Battle of Culloden in 1746. The method of identifying friend from foe was not through tartans but by the colour of ribbon worn upon the bonnet.[e][f]
The idea of groups of men wearing the same tartan is thought to originate from the military units in the 18th century. Evidence suggests that in 1725 the Independent Highland Companies may have worn a uniform tartan.[29]
Modern tartans
By the 19th century the Highland romantic revival, inspired by James Macpherson's Ossian poems and the writings of Sir Walter Scott, led to wider interest, with clubs like the Celtic Society of Edinburgh welcoming Lowlanders. The pageantry invented for the 1822 visit of King George IV to Scotland brought a sudden demand for tartan cloth and made it the national dress of the whole of Scotland, rather than just the Highlands and Islands, with the invention of many new clan-specific tartans to suit.
Georgian royal patronage
Further information: Visit of King George IV to Scotland
Wilkie's idealised depiction of George IV, in full Highland dress, during the visit to Scotland in 1822[g]
The popularity of tartan was greatly increased by the royal visit of George IV to Edinburgh in 1822. George IV was the first reigning monarch to visit Scotland in 171 years.[33] The festivities surrounding the event were originated by Sir Walter Scott who founded the Celtic Society of Edinburgh in 1820. Scott and the Celtic Society urged Scots to attend festivities "all plaided and plumed in their tartan array".[34] One contemporary writer sarcastically described the pomp that surrounded the celebrations as "Sir Walter's Celtified Pagentry".[34][35]
The Georgian tartan craze
Following the royal visit several books which documented tartans added to the craze. James Logan's romanticised work The Scottish Gael, published in 1831, was one such publication which led the Scottish tartan industry to invent clan tartans.[36] The first publication showing plates of clan tartans was the Vestiarium Scoticum, published in 1842.[37]
The Vestiarium was the work of two brothers: John Sobieski and Charles Allen Hay. The brothers, who called themselves John Sobieski Stolberg Stuart and Charles Edward Stuart, first appeared in Scotland in 1822. The two claimed to be grandsons of Prince Charles Edward Stuart and his wife Princess Louise of Stolberg, and consequently later became known as the "Sobieski Stuarts". The Sobieski Stuarts claimed that the Vestiarium was based upon a copy of an ancient manuscript on clan tartans—a manuscript which they never managed to produce.[38] The Vestiarium was followed by the equally dubious The Costume of the Clans two years later.[36] The romantic enthusiasm that Logan and the Sobieski Stuarts generated with their publications led the way for other tartan books in the 19th century.[34][37]
Victorian royal patronage
The world's first permanent colour photograph, taken by Thomas Sutton (using the three colour process developed by James Clerk Maxwell) in 1861, was of a tartan ribbon.[39]
Twenty years after her uncle's visit to Scotland, Queen Victoria and her husband Prince Albert made their first trip to the Scottish Highlands. The Queen and prince bought Balmoral Castle in 1848 and hired a local architect to re-model the estate in "Scots Baronial" style. Prince Albert personally took care of the interior design, where he made great use of tartan. He used the red Royal Stewart and the green Hunting Stewart tartans for carpets, while using the Dress Stewart for curtains and upholstery. The Queen designed the Victoria tartan, and Prince Albert the Balmoral, still used as a royal tartan today.[40]
Victoria and Albert spent a considerable amount of time at their estate, and in doing so hosted many "Highland" activities. Victoria was attended by pipers and her children were attired in Highland dress. Prince Albert himself loved watching the Highland games.[41][h] As the craze swept over Scotland the Highland population suffered grievously from the Highland Clearances, when thousands of Gaelic-speaking Scots from the Highlands and Isles were evicted by landlords (in many cases the very men who would have been their clan chiefs) to make way for sheep.[34]
Modern registration of clan tartans
Clan Armstrong tartan
The naming and registration of official clan tartans began on 8 April 1815, when the Highland Society of London (founded 1778) resolved that all the clan chiefs each "be respectfully solicited to furnish the Society with as much of the Tartan of his Lordship's Clan as will serve to Show the Pattern and to Authenticate the Same by Attaching Thereunto a Card bearing the Impression of his Lordship's Arms." Many had no idea of what their tartan might be, but were keen to comply and to provide authentic signed and sealed samples. Alexander Macdonald, 2nd Baron Macdonald was so far removed from his Highland heritage that he wrote to the Society: "Being really ignorant of what is exactly The Macdonald Tartan, I request you will have the goodness to exert every Means in your power to Obtain a perfectly genuine Pattern, Such as Will Warrant me in Authenticating it with my Arms."
Today tartan and "clan tartan" is an important part of a Scottish clan. Almost all Scottish clans have several tartans attributed to their name. Several clans have "official" tartans. Although it is possible for anyone to create a tartan and name it any name they wish, the only person with the authority to make a clan's tartan "official" is the chief.[i]
In some cases, following such recognition from the clan chief, the clan tartan is recorded and registered by the Lord Lyon King of Arms. Once approved by the Lord Lyon, after recommendation by the Advisory Committee on Tartan, the clan tartan is then recorded in the Lyon Court Books.[29] In at least one instance a clan tartan appears in the heraldry of a clan chief and is considered by the Lord Lyon as the "proper" tartan of the clan.[j]
Modern-day tartans also encompass registered tartans for Irish clans, (for example, the surname Fitzpatrick has two registered tartans[44]) counties, and other Gaelic and Celtic nations, such as the Isle of Man, Wales, and Cornwall.
Popular tartans
It is generally stated that one of the most popular tartans today is the Royal Stewart tartan. This is the personal tartan of Queen Elizabeth II. The sett was first published in 1831 in the book The Scottish Gael by James Logan. In addition to its use in clothing, such as skirts and scarves, Royal Stewart tartan has also appeared on biscuit tins for Scottish shortbread.[45]
Another popular tartan is the Black Watch (also known as Grant Hunting, Universal, and Government).[13] This tartan, a darkened variant of the main Clan Campbell tartan (Ancient or Old Campbell), was used and is still used by several military units in the British Army and other Commonwealth forces.
Royal Stewart tartan
Black Watch tartan
Other tartans
Highland dancing at a 2005 Highland games held in the Pacific Northwest, U.S.
In addition to clan tartans, many tartan patterns have been developed for individuals, families, districts, institutions, and corporations. They have also been created for various events and certain ethnic groups.[k] Tartan has had a long history with the military and today many military units—particularly those within the Commonwealth—have tartan dress uniforms.[47] Tartans or tartan-like plaid patterns are also commonly worn as skirts or jumpers / pinafores in Catholic school uniform and other private school uniform codes in North America and also in many public and private schools in New Zealand.
Regional tartans
In addition to the original Scottish regional tartans and modern district tartans, modern tartans have been created for regions outside of Scotland.
Many regional tartans are officially recognised by government bodies. All but two Canadian provinces and territories has an official tartan, with the first dating from 1956. Nunavut, Canada's newest territory, has not enshrined its tartan in law, and neither has Quebec. Alberta, meanwhile, has two official tartans, including a dress tartan. All but Quebec's are registered with the Court of the Lord Lyon in Scotland.[48] Canada has an official national tartan that was originally designed to commemorate the introduction of its new maple leaf flag, and was made an official national emblem in 2011.[49] Several Canadian regions (like Labrador and Cape Breton Island), counties, municipalities, and institutions also have official tartans.[l]
Many of the US states also have official tartans, with the first dating from 1988. In Scotland at least two local government councils have official tartans.[52]
Dress, hunting, and mourning tartans
MacLachlan hunting tartan
Tartans are sometimes differentiated from another with the same name by the label dress, hunting, or rarely mourning.
Dress tartans are based on the earasaid tartans worn by Highland women in the 17th and 18th centuries.[m] Dress tartans tend to be made by replacing a prominent colour with the colour white. They are commonly used today in Highland dancing.
Hunting tartans also seem to be a Victorian conception, although there is some evidence of early tartans with camouflage colours.[54][n] These tartans tend to be made up of subdued colours, such as dark blues and greens. Despite the name, hunting tartans have very little to do with actual hunting.[3]
Mourning tartans, though quite rare, are associated with death and funerals. They are usually designed using combinations of black and white, or by replacing bright colors such as reds and yellows in a traditional tartan with black, white, or grey.[56]
Corporate tartans and commercial "tartan-ware"
Scottish regional airline Loganair in its tartan livery
Clever Victorian entrepreneurs not only created new tartans, but new tartan objects called tartan-ware. Tartan was incorporated in an assortment of common household objects, such as snuffboxes, jewellery cases, tableware, sewing accessories, and desk items. Tourists visiting the Scottish Highlands went home with it, and Scottish-based businesses sent tartanware out as gifts to customers. Some of the more popular tartans were the Stewart, MacDonald, McGregor, McDuff, MacBeth, and Prince Charlie.[57] Today tartanware is widely collected in England and Scotland.[58]
Fashion tartans
A German punk wearing a piece of the Royal Stewart tartan, 1984
In the Victorian and Edwardian eras, tartan-clad garments were featured in fashion catalogues. By then, tartan had shifted from being mainly a component of men's clothing to become an important part of women's fashion. In consequence of its association with the British aristocracy and military, tartan developed an air of dignity and exclusivity. Because of this, tartan has made reappearances in the world of fashion several times.
For instance, tartan made a resurgence in its use in punk fashion. In the late 1970s, punk music was a way for youth in the British Isles to voice their discontent with the ruling class. The unorthodox use of tartan, which had long been associated with authority and gentility, was then seen as the expression of discontent against modern society. In this way tartan, worn unconventionally, became an anti-establishment symbol.[59][60]
Popular in the mid 1970s, the Scottish teeny bopper band the Bay City Rollers were described by the British Hit Singles & Albums reference book as “tartan teen sensations from Edinburgh".[61]
Tartan made appearances on Doctor Who. The Fourth Doctor (Tom Baker) wore a Clan Wallace tartan scarf on Terror of the Zygons,[62] and the Seventh Doctor (Sylvester McCoy) wore a crimson and black tartan scarf on Time and the Rani. Clara Oswald (Jenna Coleman), the companion for the Eleventh Doctor (Matt Smith) and the Twelfth Doctor (Peter Capaldi), wore a Clan Campbell tartan dress on The Name of the Doctor and a Clan Wallace skirt on The Time of the Doctor and Deep Breath.
Tartan registration
Coat of arms of the now-defunct Scottish Tartans Society
Depending upon how "different tartan" is defined, it has been estimated that there are about 3,500[63] to 7,000[64] different tartans, with around 150 new designs being created every year.[64] With four ways of presenting the hues in the tartan—"modern", "ancient", "weathered", and "muted"[b] colours—there are thus about 14,000 recognised tartan variations from which to choose. The 7,000 figure above includes many of these variations counted as though they were different tartans.[64]
Until the late 20th century, instead of a central, official tartan registry, several independent organisations located in Scotland, Canada, and the United States documented and recorded tartans.[65] In the 1960s, a Scottish society called the Scottish Tartans Society (now defunct) was created to record and preserve all known tartan designs.[66] The society's register, the Register of All Publicly Known Tartans (RAPKT), contains about 2,700 different designs of tartan.[63] The society, however, ran into financial troubles in about the year 2000, and folded.[67] Former members of the society then formed two new Scottish-based organisations – the Scottish Tartans Authority (STA) and the Scottish Tartans World Register (STWR). Both of these societies initially based their databases on the RAPKT. The STA's database, the International Tartan Index (ITI) consists of about 3,500 different tartans (with over 7,000, counting variants), as of 2004.[63] The STWR's self-titled Scottish Tartans World Register database is made up of about 3,000 different designs as of 2004.[63] Both organisations are registered Scottish charities and record new tartans (free in the case of STS and for a fee in the case of STWR) on request.[68][69] The STA's ITI is larger, in part, because it has absorbed the entries recorded in the TartanArt database formerly maintained by the merged International Association of Tartan Studies and Tartan Educational and Cultural Association (IATS/TECA), based in the United States, and with whom the STA is directly affiliated.[citation needed]
The Scottish Register of Tartans (SRT) is Scotland's official tartan register.[70] The SRT is maintained and administrated by the National Archives of Scotland (NAS), a statutory body based in Edinburgh.[71] The aim of the Register is to provide a definitive and accessible resource to promote and preserve tartans. It also aims to be the definitive source for the registration of new tartans (that pass NAS criteria for inclusion). The register itself is made up of the existing registers of the STA and the STWR as they were at the time of the SRT's launch, and new registrations from 5 February 2009 onward. On the Register's website users can register new tartans (for a fee), search for and request the threadcounts of existing tartans and receive notifications of newly registered tartans.[72][73] One criticism of the SRT and NAS's management of it is that its exclusivity, in both cost and criteria, necessarily means that it cannot actually achieve its goals of definiteness, preservation and open access. The current version of the STA's ITI, for example, already contains a large number of tartans that do not appear in the SRT, and the gulf will only widen under current policy.[74]
Tartan etiquette
Burberry Check
Scottish actor Sir Sean Connery at a Tartan Day celebration in Washington D.C. When knighted by Queen Elizabeth II in 2000 he wore a green-and-black hunting tartan kilt of his mother's MacLean clan.
Since the Victorian era, authorities on tartan have claimed that there is an etiquette to wearing tartan, specifically tartan attributed to clans or families. Even so, there are no laws or rules on who can, or cannot, wear a particular tartan. The concept of the entitlement to certain tartans has led to the term of universal tartan, or free tartan, which describes tartan which can be worn by anyone. Traditional examples of such are Black Watch, Caledonian, Hunting Stewart, and Jacobite tartans, and many district or regional tartans.[75] In the same line of opinion, some tartan attributed to the British Royal Family are claimed by some to be "off limits" to non-royalty.[76][77]
However, some modern tartans are protected by trademark law, and the trademark proprietor can, in certain circumstances, prevent others from selling that tartan.[13] The "Burberry Check" of the English fashion house, first designed in early 1920s, is an instantly recognisable tartan that is very well known around the world[78] and is an example of a tartan that is protected.[o]
Many books on Scottish clans list such rules and guidelines.[13] One such opinion is that people not bearing a clan surname, or surname claimed as a sept of a clan, should not wear the tartan of their mother's clan.[81] This opinion is enforced by the fact that in the Scottish clan system, the Lord Lyon states that membership to a clan technically passes through the surname. This means that children who bear their father's surname belong to the father's clan (if any), and that children who bear their mother's surname (her maiden name) belong to their mother's clan (if any).[82] Also, the Lord Lyon states that a clan tartan should only be worn by those who profess allegiance to that clan's chief.[83]
Some clan societies even claim that certain tartans are the personal property of a chief or chieftain, and in some cases they allow their clansfolk "permission" to wear a tartan.[p] According to the Scottish Tartans Authority — which is an establishment of the Scottish tartan industry — the Balmoral tartan should not be worn by anyone who is not part of the British Royal Family. Even so, some weavers outside of the United Kingdom ignore the "longstanding convention" of the British Royal Family's "right" to this tartan. The society also claims that non-royals who wear this tartan are treated with "great disdain" by the Scottish tartan industry.[85][q]
Generally, a more liberal attitude is taken by those in the business of selling tartan, stressing that anyone may wear any tartan they like. The claimed "rules" are mere conventions (some of which are recent creations), with different levels of importance depending on the symbolic meaning of the tartan on some particular occasion. For example, when a district tartan is worn at a football game, or a family tartan at a family event, such as the investiture of a new clan chief, the issue of wearing the event's tartan is of greater concern than wearing the same tartan when attending Highland Games where no event is scheduled where the tartan would have special significance. The same rules apply as do to wearing any clothing that prominently displays colors with national or political significance, such as un-patterned orange or green cloth in Ireland (regardless of whether it is worn as a kilt), or red, white, and blue colors at national events in France or the United States." (wikipedia.org)
"A skeleton is a type of physically manifested undead often found in fantasy, gothic and horror fiction, and mythical art. Most are human skeletons, but they can also be from any creature or race found on Earth or in the fantasy world....
Myth and folklore
Animated human skeletons have been used as a personification of death in Western culture since the Middle Ages, a personification perhaps influenced by the valley of the dry bones in the Book of Ezekiel.[1] The Grim Reaper is often depicted as a hooded skeleton holding a scythe (and occasionally an hourglass), which has been attributed to Hans Holbein the Younger (1538).[2] Death as one of the biblical horsemen of the Apocalypse has been depicted as a skeleton riding a horse. The Triumph of Death is a 1562 painting by Pieter Bruegel the Elder depicting an army of skeletons raiding a town and slaughtering its occupants.[3]
"The Boy Who Wanted the Willies" is a Brothers Grimm fairy tale in which a boy named Hans joins a circle of dancing skeletons.[citation needed]
In Japanese folklore, Mekurabe are rolling skulls with eyeballs who menace Taira no Kiyomori.[4]
José Guadalupe Posada's 1913 La Calavera Catrina zinc etching
Mexico
Figurines and images of skeletons doing routine things are common in Mexico's Day of the Dead celebration, where skulls symbolize life and their familiar circumstances invite levity. Highly-decorated sugar-skull candy has become one of the most recognizable elements of the celebrations.[5][6] They are known in Mexico as calacas, a Mexican Spanish term simply meaning "skeleton". The moderns association between skeleton iconography and the Day of the Dead was inspired by La Calavera Catrina, a zinc etching created by Mexican cartoonist José Guadalupe Posada in the 1910s and published posthumously in 1930.[7] Initially a satire of Mexican women who were ashamed of their indigenous origins and dressed imitating the French style, wearing heavy makeup to make their skin look whiter, it later became a more general symbol of vanity.[8] During the 20th Century, the Catrina entrenched itself in the Mexican consciousness and became a national icon, often depicted in folk art.
In the Disney Pixar film Coco, the calacas appear to be ghosts.
Modern fiction
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This section needs expansion. You can help by adding to it. (March 2014)
Literature
The animated skeleton features in some Gothic fiction. One early example is in the short story "Thurnley Abbey" (1908) by Perceval Landon, originally published in his collection Raw Edges.[9] It is reprinted in many modern anthologies, such as The 2nd Fontana Book of Great Ghost Stories and The Penguin Book of Horror Stories.
An anthropomorphic depiction of Death which looks like a skeleton in a black robe appears in almost all volumes of Terry Pratchett's fantasy series Discworld, including five novels where he is the lead character.[10]
Film and TV
Undead skeletons have been portrayed in fantasy films such as The 7th Voyage of Sinbad (1958), The Black Cauldron (1985), Army of Darkness (1992), The Nightmare Before Christmas (1993), and Corpse Bride (2005).
An extended battle scene against an army of skeletal warriors was produced by animator Ray Harryhausen for Jason and the Argonauts (1963) and is remembered as one of the most sophisticated and influential visual effects sequences of its day.[11]
A CG art skeleton, as commonly found in modern fantasy-theme games.
Games
Animated skeletons have been used and portrayed extensively in fantasy role-playing games. In a tradition that goes back to the pen-and-paper game Dungeons & Dragons, the basic animated skeleton is commonly employed as a low-level undead enemy, typically easy for a player to defeat in combat. Thus, in games which make use of them, such enemies often appear relatively early in the gameplay and are considered a suitable opponent for novice players.[12] In these contexts, they are commonly armed with medieval weapons and sometimes wear armor. Some games may also introduce higher-level variants with heightened resilience or combat skills as well as the ability to cast spells or communicate.[13]
In the PlayStation action-adventure series MediEvil, the protagonist is an animated skeleton knight named Sir Daniel Fortesque.[14]
In the 1999 cult classic Planescape: Torment, Morte is a character who joins the protagonist on his quest and is essentially a sentient, levitating human skull with intact eyeballs who cracks wise and fights by biting.[15]
In the 2009 Minecraft video game, skeletons appear as a bow-wielding monster that shoots players with their bow and burn under the sunlight. Sometimes the skeletons spawn with enchanted bows or a random piece of armor, or random full armor, or without bow, and they can pick melee weapons. In Halloween, they can spawn wearing carved pumpkin or Jack O' Lantern on their heads.
In the video game Fable III, there exist a race of antagonal characters called "hollow men" which are featured throughout the game.
A duo of animated skeleton brothers plays an important role in the role-playing game Undertale. Named Sans and Papyrus, the brothers' dialogue text is printed in Comic Sans and Papyrus fonts, respectively.[16]
Following a poll taken during their Kickstarter campaign, Larian Studios added a playable skeleton race in their 2017 RPG Divinity: Original Sin II, as well as an ancient skeletal character named Fane.[17]
Following the first game, the skeletons were re-added in Minecraft Dungeons, a 2020 dungeon crawler game released by Mojang Studios as the guards of The Nameless One, the king of the undead. In this form, they are equipped with glaives, shields, and iron helmets and chestplates, and are referred to as Skeleton Vanguards. They also spawn as their original bow-wielding form, sometimes wearing iron helmet." (wikipedia.org)
"Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (often depicted as a robed skeleton) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often[clarification needed] personified in male form, although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology or Santa Muerte in Mexico)....
By region
Death from the Cary-Yale Tarot Deck (15th century)
Americas
La Calavera Catrina
Latin America
As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure.
In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed]
Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead.
San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina, and southern Brazil. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental.
In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases.
In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight.
In Haitian Vodou, the Guédé are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi.
Asia
East Asia
See also: Life replacement narratives
Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ.
Separately, In Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all—good or evil—from the land of the living to the netherworld when the time comes.[1] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably.
The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology.
India
Yama, the Hindu lord of death, presiding over his court in hell
The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions.
In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rājā). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman.
Buddhist scriptures also mention the figure Mara much in the same way.
Western Asia
Main article: Mot (god)
The Canaanites of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[2][3]
Zoroastrianism
ASTWIHĀD (Av. Astō.vīδōtu, lit. "he who dissolves the bones, bone-breaker, divider of the body"), the demon of death in the Avesta (Vd. 4.49, 5.8-9) and later Zoroastrian texts. He destroys life in cooperation with Vāyu, and none can escape him (Aogəmadaēčā 57.73). In Pahlavi literature he is identified with the Evil Wāy (q.v.): "Astwihād is the Evil Wāy who carries the breath-soul away. As it is said: When he touches a man with his hand, it is sleep; when he casts his shadow on him, it is fever; and when he looks upon him with his eyes, he deprives him of the breath-soul" (Bundahišn, p. 186.12). Astwihād was sent by Ahriman to cast his fatal noose on Gayōmard (cf. the noose of Vedic Yama), and he is one of the evil assessors of the soul at its judgment. His meaning is summed up in Dādestān ī Dēnīg 36.38: "Astwihād is explained as the disintegration of material beings" (astwihād wizārīhēd astōmandān wišōbagīh).[1]
Europe
Baltic
"Death" (Nāve; 1897) by Janis Rozentāls
Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end.
Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death.
Celtic
Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825
In Breton folklore, a spectral figure called the Ankou (yr Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[4]
Irish mythology features a similar creature known as a dullahan, whose head would be tucked under his or her arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die.
Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail."
In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories.
In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Melwas, Arawn or Afallach in a similar position.
Hellenic
Main article: Thanatos
In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments.
Scandinavia
Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr.
In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[5] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag," wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[6]
Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed]
Slavic
Prague Astronomical Clock
In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum").
In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Billhook"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?]
Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thwown into a river, that takes her away from the world of the living.
In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[7][8]
The Low Countries
In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Meager Hein") or Pietje de Dood ("Peter the Death").[9] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[10]
The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[10][11]
In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[12] Like the other Dutch names, it can also refer to the Devil.[13]
Western Europe
In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[14] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[15]
In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[16][17][18]
All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall.
In Abrahamic religions
See also: Destroying angel (Bible)
The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[19]: 64–65
Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[20]
In Judaism
La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe
In Hebrew scriptures, Death ("Maweth/Mavet(h)") is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[2] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom Yahweh can turn over Judah as punishment for worshiping other gods.[21] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[22] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[23]
Form and functions
According to the Midrash, the Angel of Death was created by God on the first day.[24] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[25] He has twelve wings.[26] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[27] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[28] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[29]
The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin.
A peculiar mantle ("idra"—according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast."
Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[30]
Scholars and the Angel of Death
The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951.
Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a).
The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.).
Rabbinic views
The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.).
By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336).
In Christianity
Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse
Death is one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[31]
And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.
— Revelation 6:8, King James Version
He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsemen to be named.
Paul addresses a personified death in 1 Corinthians 15:55.
"O Death, where is your sting? O Hades, where is your victory?"
— 1 Corinthians 15:55, New King James Version
In some versions, both arms of this verse are addressed to death.[32]
The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place.
A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans.
— Revelation 9:11, Douay–Rheims Bible
In Hebrews 2:14 the devil "holds the power of death."[33]
Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery.
— Hebrews 2:14-15, English Standard Version
Although many of Samael's functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel,[34][35]: 257–60 in others he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners.[36]
Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[37]
The last enemy to be destroyed is death.
— 1 Corinthians 15:26, New International Version
In Islam
In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster.
Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[38] After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[38][39] The time period or stage between death and resurrection is called barzakh (the interregnum).[38]
Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[40] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[40][41] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God.
Media
Songs
"Death Don't Have No Mercy"
Main article: Death Don't Have No Mercy
The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[42] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[43]
"Creeping Death"
Main article: Creeping Death
The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[44]
Books
death (Death with Interruptions or Death at Intervals)
Main article: Death with Interruptions
Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love.
Death (Discworld)
Main article: Death (Discworld)
Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Mort, published in 1987, is the first time Death appears as a leading character.[45]
Death (The Book Thief)
Main article: The Book Thief
Death is the narrator of Markus Zusak's 2005 novel The Book Thief. As the collector of souls, he tells the coming of age story about a young girl in Nazi Germany and World War II.[46]
Death (Harry Potter)
Main article: The Tales of Beedle the Bard
Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[47]
Death (Incarnations of Immortality)
Main article: On a Pale Horse
Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[48] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass.
Charlie Asher (A Dirty Job)
Main article: A Dirty Job
Death is a career in Christopher Moore's A Dirty Job.[49] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter.
Comics
Death (DC Comics)
Main article: Death (DC Comics)
Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[50] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[51]
Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[52] There has been no indication as to whether Fables has any connection to the Sandman universe.
Death (Marvel Comics)
Main article: Death (Marvel Comics)
The character first appeared in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[53] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life.
Lady MacDeath (Bug-a-Boo)
Main article: Bug-a-Booo
Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us".
Film
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Death Takes a Holiday (1934)
Main article: Death Takes a Holiday
After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live.
The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love.
The Seventh Seal (1957)
Main article: The Seventh Seal
Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[54]
These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleships and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[55] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent.
The Adventures of Baron Munchausen (1988)
Throughout the film, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death."
Final Destination film series (2000–2011)
Main article: Final Destination
In each of the Final Destination films, a group of protagonists escapes a disaster in which many innocent people are killed. Their escapes alter the design intended by Death, which, while never portrayed as a physical entity, is instead described as an omniscient supernatural consciousness. In each film, the characters learn that they are doomed to die, and that Death will follow them, before leading each into a unique death by misadventure.
Television
In 1987 Australia produced a Grim Reaper commercial to raise public awareness about the danger of HIV/AIDS.[56]
In the British children's sketch television show Horrible Histories, Death (portaryed by Simon Farnaby) is a reoccurring character who appears the segment, Stupid Deaths and later in its 6th series, Chatty Deaths.
Theatre
Elisabeth Viennese musical (1992)
Main article: Elisabeth (musical)
The personfication of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical, depicting the titular Empress of Austria-Hungary Empire's fictionalised life and her entanglements and obsession with Death.[57] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white. [58]
Video Games
The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe." (wikipedia.org)
"In works of art, the adjective macabre (US: /məˈkɑːb/ or UK: /məˈkɑːbrə/; French: [makabʁ]) means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature....
History
The quality is not often found in ancient Greek and Latin writers[citation needed], though there are traces of it in Apuleius and the author of the Satyricon. Outstanding instances in English literature include the works of John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, Roald Dahl, Thomas Hardy and Cyril Tourneur.[1] In American literature, authors whose work feature this quality include Edgar Allan Poe, H. P. Lovecraft, and Stephen King. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in English as the Dance of Death and in German as Totentanz. The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings.
The series at Basel originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century. In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain.
A Dance of Death in its simplest form still survives in the Marienkirche at Lübeck as 15th-century painting on the walls of a chapel. Here there are 24 figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe.
In Tallinn (Reval), Estonia there is a well-known Danse Macabre painting by Bernt Notke displayed at St. Nikolaus Church (Niguliste), dating the end of 15th century.
At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire.
At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre.
There was a celebrated fresco of the subject in the cloister of Old St Pauls in London.
There was another in the now destroyed Hungerford Chapel at Salisbury, of which only a single woodcut, "Death and the Gallant", remains.
Of the many engraved reproductions of the Old St Pauls fresco, the most famous is the series drawn by Holbein.
The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example, and Camille Saint-Saëns' tone poem Danse macabre, op. 40 (1847).
In the 20th century, Ingmar Bergman's 1957 film The Seventh Seal has a personified Death, and could thus count as macabre.
The origin of this allegory in painting and sculpture is disputed. It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.[2] The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with "The Triumph of Death", attributed to Orcagna, in the Campo Santo at Pisa.
Etymology
The etymology of the word "macabre" is uncertain. According to Gaston Paris[3] it first occurs in the form "macabre" in Jean le Fèvre's Respit de la mort (1376), Je fis de Macabré la danse, and he takes this accented form to be the true one, and traces it in the name of the first painter of the subject. The more usual explanation is based on the Latin name, Machabaeorum chorea (Dance of Maccabees). The seven tortured brothers, with their mother and Eleazar (2 Maccabees 6 and 7) were prominent figures on this hypothesis in the supposed dramatic dialogues.[4] Other connections have been suggested, as for example with St. Macarius, or Macaire, the hermit, who, according to Vasari, is to be identified with the figure pointing to the decaying corpses in the Pisan Triumph of Death, or with an Arabic word maqābir (مقابر), cemeteries (plural of maqbara." (wikipedia.org)
"Memento mori (Latin for 'remember that you [have to] die'[2]) is an artistic or symbolic reminder of the inevitability of death.[2] The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funeral art and architecture of the medieval period. Memento mori jewelry with skull or coffin motifs became popular in the late 16th century, and it was reflected in the artistic genre of vanitas, where symbolic objects such as hourglasses and wilting flowers signified the impermanence of human life....
Pronunciation and translation
In English, the phrase is pronounced /məˈmɛntoʊ ˈmɔːri/, mə-MEN-toh MOR-ee.
Memento is the 2nd person singular active imperative of meminī, 'to remember, to bear in mind', usually serving as a warning: "remember!" Morī is the present infinitive of the deponent verb morior 'to die'.[3]
In other words, "remember death" or "remember that you die".[4]
History of the concept
In classical antiquity
The philosopher Democritus trained himself by going into solitude and frequenting tombs.[5] Plato's Phaedo, where the death of Socrates is recounted, introduces the idea that the proper practice of philosophy is "about nothing else but dying and being dead".[6]
The Stoics of classical antiquity were particularly prominent in their use of this discipline, and Seneca's letters are full of injunctions to meditate on death.[7] The Stoic Epictetus told his students that when kissing their child, brother, or friend, they should remind themselves that they are mortal, curbing their pleasure, as do "those who stand behind men in their triumphs and remind them that they are mortal".[8] The Stoic Marcus Aurelius invited the reader to "consider how ephemeral and mean all mortal things are" in his Meditations.[9][10]
In Judaism
Several passages in the Old Testament urge a remembrance of death. In Psalm 90, Moses prays that God would teach his people "to number our days that we may get a heart of wisdom" (Ps. 90:12). In Ecclesiastes, the Preacher insists that "It is better to go to the house of mourning than to go to the house of feasting, for this is the end of all mankind, and the living will lay it to heart" (Eccl. 7:2). In Isaiah, the lifespan of human beings is compared to the short lifespan of grass: "The grass withers, the flower fades when the breath of the LORD blows on it; surely the people are grass" (Is. 40:7).
In early Christianity
The expression memento mori developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife.[11] The 2nd-century Christian writer Tertullian claimed that during his triumphal procession, a victorious general would have someone (in later versions, a slave) standing behind him, holding a crown over his head and whispering "Respice post te. Hominem te memento" ("Look after you [to the time after your death] and remember you're [only] a man."). Though in modern times this has become a standard trope, in fact no other ancient authors confirm this, and it may have been Christian moralizing rather than an accurate historical report.[12]
In Europe from the medieval era to the Victorian era
Dance of Death (15th-century fresco). No matter one's station in life, the Dance of Death unites all.
Philosophy
The thought was then utilized in Christianity, whose strong emphasis on divine judgment, heaven, hell, and the salvation of the soul brought death to the forefront of consciousness.[13] In the Christian context, the memento mori acquires a moralizing purpose quite opposed to the nunc est bibendum (now is the time to drink) theme of classical antiquity. To the Christian, the prospect of death serves to emphasize the emptiness and fleetingness of earthly pleasures, luxuries, and achievements, and thus also as an invitation to focus one's thoughts on the prospect of the afterlife. A Biblical injunction often associated with the memento mori in this context is In omnibus operibus tuis memorare novissima tua, et in aeternum non peccabis (the Vulgate's Latin rendering of Ecclesiasticus 7:40, "in all thy works be mindful of thy last end and thou wilt never sin.") This finds ritual expression in the rites of Ash Wednesday, when ashes are placed upon the worshipers' heads with the words, "Remember Man that you are dust and unto dust, you shall return."
Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.[14]
Architecture
Unshrouded skeleton on Diana Warburton's tomb (dated 1693) in St John the Baptist Church, Chester
The most obvious places to look for memento mori meditations are in funeral art and architecture. Perhaps the most striking to contemporary minds is the transi or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, and surviving examples still offer a stark reminder of the vanity of earthly riches. Later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the numerous themes associated with skull imagery.
Another example of memento mori is provided by the chapels of bones, such as the Capela dos Ossos in Évora or the Capuchin Crypt in Rome. These are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the Capela dos Ossos has the following sentence: "We bones, lying here bare, await yours."
Visual art
Philippe de Champaigne's Vanitas (c. 1671) is reduced to three essentials: Life, Death, and Time
Timepieces have been used to illustrate that the time of the living on Earth grows shorter with each passing minute. Public clocks would be decorated with mottos such as ultima forsan ("perhaps the last" [hour]) or vulnerant omnes, ultima necat ("they all wound, and the last kills"). Clocks have carried the motto tempus fugit, "time flees". Old striking clocks often sported automata who would appear and strike the hour; some of the celebrated automaton clocks from Augsburg, Germany had Death striking the hour. Private people carried smaller reminders of their own mortality. Mary, Queen of Scots owned a large watch carved in the form of a silver skull, embellished with the lines of Horace, "Pale death knocks with the same tempo upon the huts of the poor and the towers of Kings."
In the late 16th and through the 17th century, memento mori jewelry was popular. Items included mourning rings,[15] pendants, lockets, and brooches.[16] These pieces depicted tiny motifs of skulls, bones, and coffins, in addition to messages and names of the departed, picked out in precious metals and enamel.[16][17]
During the same period there emerged the artistic genre known as vanitas, Latin for "emptiness" or "vanity". Especially popular in Holland and then spreading to other European nations, vanitas paintings typically represented assemblages of numerous symbolic objects such as human skulls, guttering candles, wilting flowers, soap bubbles, butterflies, and hourglasses. In combination, vanitas assemblies conveyed the impermanence of human endeavours and of the decay that is inevitable with the passage of time. See also the themes associated with the image of the skull.
Literature
Memento mori is also an important literary theme. Well-known literary meditations on death in English prose include Sir Thomas Browne's Hydriotaphia, Urn Burial and Jeremy Taylor's Holy Living and Holy Dying. These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray's Elegy Written in a Country Churchyard and Edward Young's Night Thoughts are typical members of the genre.
In the European devotional literature of the Renaissance, the Ars Moriendi, memento mori had moral value by reminding individuals of their mortality.[18]
Music
Apart from the genre of requiem and funeral music, there is also a rich tradition of memento mori in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the simple Geisslerlieder of the Flagellant movement to the more refined cloistral or courtly songs. The lyrics often looked at life as a necessary and god-given vale of tears with death as a ransom, and they reminded people to lead sinless lives to stand a chance at Judgment Day. The following two Latin stanzas (with their English translations) are typical of memento mori in medieval music; they are from the virelai ad mortem festinamus of the Llibre Vermell de Montserrat from 1399:
Vita brevis breviter in brevi finietur,
Mors venit velociter quae neminem veretur,
Omnia mors perimit et nulli miseretur.
Ad mortem festinamus peccare desistamus.
Life is short, and shortly it will end;
Death comes quickly and respects no one,
Death destroys everything and takes pity on no one.
To death we are hastening, let us refrain from sinning.
Ni conversus fueris et sicut puer factus
Et vitam mutaveris in meliores actus,
Intrare non poteris regnum Dei beatus.
Ad mortem festinamus peccare desistamus.
If you do not turn back and become like a child,
And change your life for the better,
You will not be able to enter, blessed, the Kingdom of God.
To death we are hastening, let us refrain from sinning.
Danse macabre
The danse macabre is another well-known example of the memento mori theme, with its dancing depiction of the Grim Reaper carrying off rich and poor alike. This and similar depictions of Death decorated many European churches....
The salutation of the Hermits of St. Paul of France
Memento mori was the salutation used by the Hermits of St. Paul of France (1620-1633), also known as the Brothers of Death.[19] It is sometimes claimed that the Trappists use this salutation, but this is not true.[20]
In Puritan America
Thomas Smith's Self-Portrait
Colonial American art saw a large number of memento mori images due to Puritan influence. The Puritan community in 17th-century North America looked down upon art because they believed that it drew the faithful away from God and, if away from God, then it could only lead to the devil. However, portraits were considered historical records and, as such, they were allowed. Thomas Smith, a 17th-century Puritan, fought in many naval battles and also painted. In his self-portrait, we see these pursuits represented alongside a typical Puritan memento mori with a skull, suggesting his awareness of imminent death.
The poem underneath the skull emphasizes Thomas Smith's acceptance of death and of turning away from the world of the living:
Why why should I the World be minding, Therein a World of Evils Finding. Then Farwell World: Farwell thy jarres, thy Joies thy Toies thy Wiles thy Warrs. Truth Sounds Retreat: I am not sorye. The Eternall Drawes to him my heart, By Faith (which can thy Force Subvert) To Crowne me (after Grace) with Glory.
Mexico's Day of the Dead
Posada's 1910 La Calavera Catrina
Main article: Day of the Dead
Much memento mori art is associated with the Mexican festival Day of the Dead, including skull-shaped candies and bread loaves adorned with bread "bones."
This theme was also famously expressed in the works of the Mexican engraver José Guadalupe Posada, in which people from various walks of life are depicted as skeletons.
Another manifestation of memento mori is found in the Mexican "Calavera", a literary composition in verse form normally written in honour of a person who is still alive, but written as if that person were dead. These compositions have a comedic tone and are often offered from one friend to another during Day of the Dead.[21]
Contemporary culture
Roman Krznaric suggests Memento Mori is an important topic to bring back into our thoughts and belief system; “Philosophers have come up with lots of what I call ‘death tasters’ – thought experiments for seizing the day."
These thought experiments are powerful to get us re-oriented back to death into current awareness and living with spontaneity. Albert Camus stated “Come to terms with death, thereafter anything is possible.” Jean-Paul Sartre expressed that life is given to us early, and is shortened at the end, all the while taken away at every step of the way, emphasizing that the end is only the beginning every day.[22]
Similar concepts in other religions and cultures
In Buddhism
The Buddhist practice maraṇasati meditates on death. The word is a Pāli compound of maraṇa 'death' (an Indo-European cognate of Latin mori) and sati 'awareness', so very close to memento mori. It is first used in early Buddhist texts, the suttapiṭaka of the Pāli Canon, with parallels in the āgamas of the "Northern" Schools.
In Japanese Zen and samurai culture
In Japan, the influence of Zen Buddhist contemplation of death on indigenous culture can be gauged by the following quotation from the classic treatise on samurai ethics, Hagakure:[23]
The Way of the Samurai is, morning after morning, the practice of death, considering whether it will be here or be there, imagining the most sightly way of dying, and putting one's mind firmly in death. Although this may be a most difficult thing, if one will do it, it can be done. There is nothing that one should suppose cannot be done.[24]
In the annual appreciation of cherry blossom and fall colors, hanami and momijigari, it was philosophized that things are most splendid at the moment before their fall, and to aim to live and die in a similar fashion.[citation needed]
In Tibetan Buddhism
Tibetan Citipati mask depicting Mahākāla. The skull mask of Citipati is a reminder of the impermanence of life and the eternal cycle of life and death.
In Tibetan Buddhism, there is a mind training practice known as Lojong. The initial stages of the classic Lojong begin with 'The Four Thoughts that Turn the Mind', or, more literally, 'Four Contemplations to Cause a Revolution in the Mind'.[citation needed] The second of these four is the contemplation on impermanence and death. In particular, one contemplates that;
All compounded things are impermanent.
The human body is a compounded thing.
Therefore, death of the body is certain.
The time of death is uncertain and beyond our control.
There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today.
Lalitavistara Sutra
The following is from the Lalitavistara Sūtra, a major work in the classical Sanskrit canon:
अध्रुवं त्रिभवं शरदभ्रनिभं नटरङ्गसमा जगिर् ऊर्मिच्युती। गिरिनद्यसमं लघुशीघ्रजवं व्रजतायु जगे यथ विद्यु नभे॥
The three worlds are fleeting like autumn clouds.
Like a staged performance, beings come and go.
In tumultuous waves, rushing by, like rapids over a cliff.
Like lightning, wanderers in samsara burst into existence, and are gone in a flash.
ज्वलितं त्रिभवं जरव्याधिदुखैः मरणाग्निप्रदीप्तमनाथमिदम्। भवनि शरणे सद मूढ जगत् भ्रमती भ्रमरो यथ कुम्भगतो॥
Beings are ablaze with the sufferings of sickness and old age,
And with no defence against the conflagration of Death
The bewildered, seeking refuge in worldly existence
Spin round and round, like bees trapped in a jar.[25]
The Udānavarga
A very well known verse in the Pali, Sanskrit and Tibetan canons states [this is from the Sanskrit version, the Udānavarga:
सर्वे क्षयान्ता निचयाः पतनान्ताः समुच्छ्रयाः |
सम्योगा विप्रयोगान्ता मरणान्तं हि जीवितम् |1,22|
All that is acquired will be lost
What rises will fall
Where there is meeting there will be separation
What is born will surely die.[26]
Shantideva, Bodhicaryavatara
Shantideva, in the Bodhisattvacaryāvatāra 'Bodhisattva's Way of Life' reflects at length:
कृताकृतापरीक्षोऽयं मृत्युर्विश्रम्भघातकः।
स्वस्थास्वस्थैरविश्वास्य आकमिस्मकमहाशनि:॥
२/३४॥
Death does not differentiate between tasks done and undone.
This traitor is not to be trusted by the healthy or the ill,
for it is like an unexpected, great thunderbolt.
BCA 2.33
अप्रिया न भविष्यन्ति प्रियो मे न भविष्यति।
अहं च न भविष्यामि सर्वं च न भविष्यति॥
२/३७॥
My enemies will not remain, nor will my friends remain.
I shall not remain. Nothing will remain.
BCA 2:35
तत्तत्स्मरणताम याति यद्यद्वस्त्वनुभयते।
स्वप्नानुभूतवत्सर्वं गतं न पूनरीक्ष्यते॥
२/३६॥
Whatever is experienced will fade to a memory.
Like an experience in a dream,
everything that has passed will not be seen again.
BCA 2:36
रात्रिन्दिवमविश्राममायुषो वर्धते व्ययः।
आयस्य चागमो नास्ति न मरिष्यामि किं न्वहम्॥
२/४०
Day and night, a life span unceasingly diminishes,
and there is no adding onto it. Shall I not die then?
BCA 2:39
यमदूतैर्गृहीतस्य कुतो बन्धुः कुतः सुह्रत्। पुण्यमेकं तदा त्राणं मया तच्च न सेवितम्॥
२/४१॥ For a person seized by the messengers of Death,
what good is a relative and what good is a friend?
At that time, merit alone is a protection,
and I have not applied myself to it.
BCA 2:41
In more modern Tibetan Buddhist works
In a practice text written by the 19th century Tibetan master Dudjom Lingpa for serious meditators, he formulates the second contemplation in this way:[27][28]
On this occasion when you have such a bounty of opportunities in terms of your body, environment, friends, spiritual mentors, time, and practical instructions, without procrastinating until tomorrow and the next day, arouse a sense of urgency, as if a spark landed on your body or a grain of sand fell in your eye. If you have not swiftly applied yourself to practice, examine the births and deaths of other beings and reflect again and again on the unpredictability of your lifespan and the time of your death, and on the uncertainty of your own situation. Meditate on this until you have definitively integrated it with your mind... The appearances of this life, including your surroundings and friends, are like last night’s dream, and this life passes more swiftly than a flash of lightning in the sky. There is no end to this meaningless work. What a joke to prepare to live forever! Wherever you are born in the heights or depths of saṃsāra, the great noose of suffering will hold you tight. Acquiring freedom for yourself is as rare as a star in the daytime, so how is it possible to practice and achieve liberation? The root of all mind training and practical instructions is planted by knowing the nature of existence. There is no other way. I, an old vagabond, have shaken my beggar’s satchel, and this is what came out.
The contemporary Tibetan master, Yangthang Rinpoche, in his short text 'Summary of the View, Meditation, and Conduct':[29]
།ཁྱེད་རྙེད་དཀའ་བ་མི་ཡི་ལུས་རྟེན་རྙེད། །སྐྱེ་དཀའ་བའི་ངེས་འབྱུང་གི་བསམ་པ་སྐྱེས། །མཇལ་དཀའ་བའི་མཚན་ལྡན་གྱི་བླ་མ་མཇལ། །འཕྲད་དཀའ་བ་དམ་པའི་ཆོས་དང་འཕྲད།
འདི་འདྲ་བའི་ལུས་རྟེན་བཟང་པོ་འདི། །ཐོབ་དཀའ་བའི་ཚུལ་ལ་ཡང་ཡང་སོམ། རྙེད་པ་འདི་དོན་ཡོད་མ་བྱས་ན། །འདི་མི་རྟག་རླུང་གསེབ་མར་མེ་འདྲ།
ཡུན་རིང་པོའི་བློ་གཏད་འདི་ལ་མེད། །ཤི་བར་དོར་གྲོལ་བའི་གདེངས་མེད་ན། །ཚེ་ཕྱི་མའི་སྡུག་བསྔལ་ཨ་རེ་འཇིགས། །མཐའ་མེད་པའི་འཁོར་བར་འཁྱམས་དགོས་ཚེ།
།འདིའི་རང་བཞིན་བསམ་ན་སེམས་རེ་སྐྱོ། །ཚེ་འདི་ལ་བློ་གདེངས་ཐོབ་པ་ཞིག །ཅི་ནས་ཀྱང་མཛད་རྒྱུ་བཀའ་དྲིན་ཆེ། །འདི་བདག་གིས་ཁྱོད་ལ་རེ་བ་ཡིན།
You have obtained a human life, which is difficult to find,
Have aroused an intention of a spirit of emergence, which is difficult to arouse,
Have met a qualified guru, who is difficult to meet,
And you have encountered the sublime Dharma, which is difficult to encounter.
Reflect again and again on the difficulty Of obtaining such a fine human life.
If you do not make this meaningful,
It will be like a butter lamp in the wind of impermanence.
Do not count on this lasting a long time.
The Tibetan Canon also includes copious materials on the meditative preparation for the death process and intermediate period bardo between death and rebirth. Amongst them are the famous "Tibetan Book of the Dead", in Tibetan Bardo Thodol, the "Natural Liberation through Hearing in the Bardo".
In Islam
The "remembrance of death" (Arabic: تذكرة الموت, Tadhkirat al-Mawt; deriving from تذكرة, tadhkirah, Arabic for memorandum or admonition), has been a major topic of Islamic spirituality since the time of the Islamic prophet Muhammad in Medina. It is grounded in the Qur'an, where there are recurring injunctions to pay heed to the fate of previous generations.[30] The hadith literature, which preserves the teachings of Muhammad, records advice for believers to "remember often death, the destroyer of pleasures."[31] Some Sufis have been called "ahl al-qubur," the "people of the graves," because of their practice of frequenting graveyards to ponder on mortality and the vanity of life, based on the teaching of Muhammad to visit graves.[32] Al-Ghazali devotes to this topic the last book of his "The Revival of the Religious Sciences".[33]
Iceland
The Hávamál ("Sayings of the High One"), a 13th century Icelandic compilation poetically attributed to the god Odin, includes two sections – the Gestaþáttr and the Loddfáfnismál – offering many gnomic proverbs expressing the memento mori philosophy, most famously Gestaþáttr number 77:
Deyr fé,
deyja frændur,
deyr sjálfur ið sama;
ek veit einn at aldri deyr,
dómr um dauðan hvern.
Animals die,
friends die,
and thyself, too, shall die;
but one thing I know that never dies
the tales of the one who died." (wikipedia.org)
"A vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death, often contrasting symbols of wealth and symbols of ephemerality and death. Best-known are vanitas still lifes, a common genre in Low Countries of the 16th and 17th centuries; they have also been created at other times and in other media and genres....
Etymology
The Latin noun vanitas (from the Latin adjective vanus 'empty') means 'emptiness', 'futility', or 'worthlessness', the traditional Christian view being that earthly goods and pursuits are transient and worthless.[2] It alludes to Ecclesiastes 1:2; 12:8, where vanitas translates the Hebrew word hevel, which also includes the concept of transitoriness.[3][4][5]
Themes
Pierfrancesco Cittadini 17th century Italian school
Vanitas themes were common in medieval funerary art, with most surviving examples in sculpture. By the 15th century, these could be extremely morbid and explicit, reflecting an increased obsession with death and decay also seen in the Ars moriendi, the Danse Macabre, and the overlapping motif of the Memento mori. From the Renaissance such motifs gradually became more indirect and, as the still-life genre became popular, found a home there. Paintings executed in the vanitas style were meant to remind viewers of the transience of life, the futility of pleasure, and the certainty of death. They also provided a moral justification for painting attractive objects.
Motifs
Vanitas by Harmen Steenwijck
Common vanitas symbols include skulls, which are a reminder of the certainty of death; rotten fruit (decay); bubbles (the brevity of life and suddenness of death); smoke, watches, and hourglasses (the brevity of life); and musical instruments (brevity and the ephemeral nature of life). Fruit, flowers and butterflies can be interpreted in the same way, and a peeled lemon was, like life, attractive to look at but bitter to taste. Art historians debate how much, and how seriously, the vanitas theme is implied in still-life paintings without explicit imagery such as a skull. As in much moralistic genre painting, the enjoyment evoked by the sensuous depiction of the subject is in a certain conflict with the moralistic message.[6]
Composition of flowers is a less obvious style of vanitas by Abraham Mignon in the National Museum, Warsaw. Barely visible amid vivid and perilous nature (snakes, poisonous mushrooms), a bird skeleton is a symbol of vanity and shortness of life.
Vanitas by Jan Sanders van Hemessen
Outside visual art
The first movement in composer Robert Schumann's 5 Pieces in a Folk Style, for Cello and Piano, Op. 102 is entitled Vanitas vanitatum: Mit Humor.
Vanitas vanitatum is the title of an oratorio written by an Italian Baroque composer Giacomo Carissimi (1604/1605 -1674).
Composer Richard Barrett's Vanity, for orchestra, is greatly inspired by this movement.
Vanitas is the seventh album by British Extreme Metal band Anaal Nathrakh.
Vanitas is the name of a character from the Kingdom Hearts franchise.
Vanitas is the name of one of the two main characters from Vanitas no Carte
Vanitas is the second album by US power metal band Platinum.
In modern times
Jana Sterbak, Vanitas: Flesh Dress for an Albino Anorectic, artwork, 1987.
Alexander de Cadenet, Skull Portraits, various subjects, 1996 – present.
Philippe Pasqua, series of skulls, sculpture, 1990s – present.
Damien Hirst, For the Love of God, sculpture (A diamond skull), 2007.
Anne de Carbuccia, One Planet One Future, various subjects, 2013 – present." (wikipedia.org)
"Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death, mortality and the unachievable nature of immortality.
Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now-past life of the skull are symbolized.
Hindu temples and depiction of some Hindu deities have displayed association with skulls.
Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead, and to some can even seem to look sad due to the downward facing slope on the ends of the eye sockets. A skull with the lower jaw intact may also appear to be grinning or laughing due to the exposed teeth. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Our present society predominantly associates skulls with death and evil.
Unicode reserves character U+1F480 (💀) for a human skull pictogram....
Examples
The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings,[2] lofting mortality beyond its own death.
lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert
All is Vanity by C. Allan Gilbert, 1873-1929
One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest..." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor.
Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[3]
Skull art is found in depictions of some Hindu Gods. Lord Shiva has been depicted as carrying skull.[4] Goddess Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, Lakshminarayana Temple are some of the Hindu temples that include sculptures of skulls and Goddess Chamunda.[5] The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood.
In Elizabethan England, the Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, sexual adventurers and prostitutes; the term Death's-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.[citation needed]
Sugar skull given for the Day of the Dead, made with chocolate and amaranth from Mexico
Sugar skull given for the Day of the Dead, made with chocolate and amaranth
Skulls and skeletons are the main symbol of the Day of the Dead, a Mexican holiday. Skull-shaped decorations called calaveras are a common sight during the festivities.
Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicolas Poussin, but the motto made its pictorial debut in Guercino's version, 1618-22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground.
Next to Mary Magdalene's dressing-mirror, in a convention of Baroque painting[citation needed], the Skull has quite different connotations and reminds the viewer that the Magdalene has become a symbol for repentance. In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the-20th century icon.
The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his Vanitas (illustration, below right): Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting.
Skull on table Vanitas, by Pieter Claesz, painted in 1630 from the Mauritzhuis, The Hague
Vanitas, by Pieter Claesz, 1630 (Mauritzhuis, The Hague)
When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. However, when tattooed on the forearm its apotropaic power helps an outlaw biker cheat death.[6] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. But it is not the same emblem when it flies high above the deck as the Jolly Roger: there the pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[7] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols— death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[8]
Today, humans typically note the skull and crossbones sign as the almost universal symbol for toxicity.
The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, from 1435
The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435
When a skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[9] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[10] The rafters of a traditional Jívaro medicine house in Peru,[11] or in New Guinea.
The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam.
The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret.
Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic
Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic
The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveller), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium.
Skull in lady's hat "Calavera de la Catrina" by José Guadalupe Posada
Calavera de la Catrina by José Guadalupe Posada (1851-1913)
An example of the OSS "Black Propaganda" Humor: at left an Adolf Hitler profile on a "German Reich" stamp; at right the OSS-forged Hitler face version, turned into a death's head on a "Fallen Reich" stamp
Similarly, a skull might be seen crowned by a chaplet of dried roses, a carpe diem, though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina.
In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[12] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:
Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.
"We were what you are; and what we are, you will be."
An old Yoruba folktale[13] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull.
In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis.
In some Korean life replacement narratives, a person discovers an abandoned skull and worships it. The skull later gives advice on how to cheat the gods of death and prevent an early death.
In fashion
Alexander McQueen is credited with popularizing a fashion trend with stylized skulls, starting with skull-decorated bags and scarves. The trend is extant by the early 2010s." (wikipedia.org)
"Symbols of death are the symbolic, often allegorical, portrayal of death in various cultures....
Images
Image of the Grim Reaper on the tailfin of a U.S. Navy F-14D Tomcat of Flight Squadron, VF-101, nicknamed the "Grim Reapers."
Traditional Jolly Roger, the flag of "Black Sam" Bellamy and other pirates of the 18th century, displaying a skull and crossbones.
Various images are used traditionally to symbolize death; these rank from blunt depictions of cadavers and their parts to more allusive suggestions that time is fleeting and all men are mortals.
The human skull is an obvious and frequent symbol of death, found in many cultures and religious traditions.[1] Human skeletons and sometimes non-human animal skeletons and skulls can also be used as blunt images of death; the traditional figures of the Grim Reaper – a black-hooded skeleton with a scythe – is one use of such symbolism.[2] Within the Grim Reaper itself, the skeleton represents the decayed body whereas the robe symbolizes those worn by religious people conducting funeral services.[2] The skull and crossbones motif (☠) has been used among Europeans as a symbol of both piracy and poison.[3] The skull is also important as it remains the only "recognizable" aspect of a person once they have died.[3]
Decayed cadavers can also be used to depict death; in medieval Europe, they were often featured in artistic depictions of the danse macabre, or in cadaver tombs which depicted the living and decomposed body of the person entombed. Coffins also serve as blunt reminders of mortality.[4] Europeans were also seen to use coffins and cemeteries to symbolize the wealth and status of the person who has died, serving as a reminder to the living and the deceased as well.[4] Less blunt symbols of death frequently allude to the passage of time and the fragility of life, and can be described as memento mori;[5] that is, an artistic or symbolic reminder of the inevitability of death. Clocks, hourglasses, sundials, and other timepieces both call to mind that time is passing.[3] Similarly, a candle both marks the passage of time, and bears witness that it will eventually burn itself out as well as a symbol of hope of salvation.[3] These sorts of symbols were often incorporated into vanitas paintings, a variety of early still life.
Certain animals such as crows, cats, owls, moths, vultures and bats are associated with death; some because they feed on carrion, others because they are nocturnal.[3] Along with death, vultures can also represent transformation and renewal.[3]
Religious symbols
Religious symbols of death and depictions of the afterlife will vary with the religion practiced by the people who use them.
Tombs, tombstones, and other items of funeral architecture are obvious candidates for symbols of death.[3] In ancient Egypt, the gods Osiris and Ptah were typically depicted as mummies; these gods governed the Egyptian afterlife. In Christianity, the Christian cross is frequently used on graves, and is meant to call to mind the crucifixion of Jesus.[3] Some Christians also erect temporary crosses along public highways as memorials for those who died in accidents. In Buddhism, the symbol of a wheel represents the perpetual cycle of death and rebirth that happens in samsara.[6] The symbol of a grave or tomb, especially one in a picturesque or unusual location, can be used to represent death, as in Nicholas Poussin's famous painting Et in Arcadia ego.
Images of life in the afterlife are also symbols of death. Here, again, the ancient Egyptians produced detailed pictorial representations of the life enjoyed by the dead. In Christian folk religion, the spirits of the dead are often depicted as winged angels or angel-like creatures, dwelling among the clouds; this imagery of the afterlife is frequently used in comic depictions of the life after death.[3] In the Islamic view of the Afterlife, death is symbolised by a black and white ram which in turn will be slain to symbolise the Death of Death.
The Banshee also symbolizes the coming of death in Irish Mythology.[3] This is typically represented by an older woman who is seen sobbing to symbolize the suffering of a person before their death.[3]
Colors
Black is the color of mourning in many European cultures. Black clothing is typically worn at funerals to show mourning for the death of the person. In East Asia, white is similarly associated with mourning; it represented the purity and perfection of the deceased person's spirit.[7] During the Victorian era, purple and grey were considered to be mourning colors in addition to black.[8] Furthermore, in Revelation 6 in The Bible, Death is one of the four horsemen; and he rides a pale horse." (wikipedia.org)
"The distinction between horror and terror is a standard literary and psychological concept applied especially to Gothic and horror fiction.[1] Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience.
Horror has also been defined by Noel Carroll as a combination of terror and revulsion....
Literary Gothic
Figure 20 from Charles Darwin's The Expression of the Emotions in Man and Animals (1872). Caption reads "FIG. 20.—Terror, from a photograph by Dr. Duchenne."
The distinction between terror and horror was first characterized by the Gothic writer Ann Radcliffe (1764–1823), horror being more related to being shocked or scared (being horrified) at an awful realization or a deeply unpleasant occurrence, while terror is more related to being anxious or fearful.[3] Radcliffe considered that terror is characterized by "obscurity" or indeterminacy in its treatment of potentially horrible events, something which leads to the sublime. She says in an essay published posthumously in 1826, 'On the Supernatural in Poetry', that terror "expands the soul and awakens the faculties to a high degree of life". Horror, in contrast, "freezes and nearly annihilates them" with its unambiguous displays of atrocity. She goes on: "I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil."[4]
According to Devendra Varma in The Gothic Flame (1966):
The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse.
Horror fiction
Horror is also a genre of film and fiction that relies on horrifying images or situations to tell stories and prompt reactions or jump scares to put their audiences on edge. In these films the moment of horrifying revelation is usually preceded by a terrifying build up, often using the medium of scary music.[5]
In his non-fiction book Danse Macabre, Stephen King stressed how horror tales normally chart the outbreak of madness/the terrible within an everyday setting.[6] He also elaborated on the twin themes of terror and horror, adding a third element which he referred to as "revulsion". He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed. "Horror," King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value". King finally compares "revulsion" with the gag-reflex, a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing:
I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.[7]
Psychoanalytic views
Freud likened the experience of horror to that of the uncanny.[8]
In his wake, Georges Bataille saw horror as akin to ecstasy in its transcendence of the everyday;[9] as opening a way to go beyond rational social consciousness.[10] Julia Kristeva in turn considered horror as evoking experience of the primitive, the infantile, and the demoniacal aspects of unmediated femininity.[11]
Horror, helplessness and trauma
The paradox of pleasure experienced through horror films/books can be explained partly as stemming from relief from real-life horror in the experience of horror in play, partly as a safe way to return in adult life to the paralysing feelings of infantile helplessness.[12]
Helplessness is also a factor in the overwhelming experience of real horror in psychological trauma.[13] Playing at re-experiencing the trauma may be a helpful way of overcoming it." (wikipedia.org)
"Trick-or-treating is a traditional Halloween custom for children and adults in some countries. In the evening before All Saints' Day (1 November), children in costumes travel from house to house, asking for treats with the phrase "Trick or treat". The "treat" is usually some form of candy, although in some cultures money is given instead. The "trick" refers to a threat, usually idle, to perform mischief on the homeowner(s) or their property if no treat is given. Trick-or-treating usually occurs on the evening of October 31. Some homeowners signal that they are willing to hand out treats by putting up Halloween decorations outside their doors; others simply leave treats available on their porches for the children to take freely. Houses may also leave their porch light on as a universal indicator that they have candy.
In Scotland and other parts of Britain and Ireland, the tradition of going house to house collecting food at Halloween goes back at least as far as the 16th century, as does the tradition of people wearing costumes at Halloween. There are many accounts from 19th-century Scotland and Ireland of people going house to house in costume at Halloween, reciting verses in exchange for food, and sometimes warning of misfortune if they were not welcomed.[1] In North America, trick-or-treating has been a Halloween tradition since the 1920s. The earliest known occurrence there of the Scottish Halloween custom of "guising" – children going from house to house for food or money while disguised in costume[2] – is from 1911, when children were recorded as having done this in Ontario, Canada.[3] While going house to house in costume has long been popular among the Scots and Irish, it is only in the 2000s that saying "Trick or treat" has become common in Scotland and Ireland.[4] Prior to this, children in Ireland would commonly say "Help the Halloween Party" at the doors of homeowners.[4] The activity is prevalent in the United States, Canada, the United Kingdom, the Republic of Ireland, Australia, Puerto Rico, and northwestern and central Mexico. In the last, this practice is called calaverita (Spanish diminutive for calavera, "skull" in English), and instead of "Trick or treat", the children ask, "¿Me da mi calaverita?" ("Can you give me my little skull?"), where a calaverita is a small skull made of sugar or chocolate....
History
Ancient precursors
Traditions similar to the modern custom of trick-or-treating extend all the way back to classical antiquity, although it is extremely unlikely that any of them are directly related to the modern custom. The ancient Greek writer Athenaeus of Naucratis records in his book The Deipnosophists that, in ancient times, the Greek island of Rhodes had a custom in which children would go from door-to-door dressed as swallows, singing a song, which demanded the owners of the house to give them food and threatened to cause mischief if the owners of the house refused.[5][6][7] This tradition was claimed to have been started by the Rhodian lawgiver Cleobulus.[8]
Origins
Since the Middle Ages, a tradition of mumming on a certain holiday has existed in parts of Britain and Ireland. It involved going door-to-door in costume, performing short scenes or parts of plays in exchange for food or drink. The custom of trick-or-treating on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased.
It may otherwise have originated in a Celtic festival, held on 31 October–1 November, to mark the beginning of winter. It was Samhain in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall, and Brittany. The festival is believed to have pre-Christian roots. In the 9th century, the Catholic Church made 1 November All Saints' Day. Among Celtic-speaking peoples, it was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, came into our world and were appeased with offerings of food and drink. Similar beliefs and customs were found in other parts of Europe. It is suggested that trick-or-treating evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf. S. V. Peddle suggests they "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[9] Impersonating these spirits or souls was also believed to protect oneself from them.[10]
"A soul-cake, a soul-cake, have mercy on all Christian souls for a soul-cake." — a popular English souling rhyme[11]
At least as far back as the 15th century, among Christians, there had been a custom of sharing soul-cakes at Allhallowtide (October 31 through November 2).[12][13] People would visit houses and take soul-cakes, either as representatives of the dead, or in return for praying for their souls.[14] Later, people went "from parish to parish at Halloween, begging soul-cakes by singing under the windows some such verse as this: 'Soul, souls, for a soul-cake; Pray you good mistress, a soul-cake!'"[15] They typically asked for "mercy on all Christian souls for a soul-cake".[16] It was known as 'Souling' and was recorded in parts of Britain, Flanders, southern Germany, and Austria.[17] Shakespeare mentions the practice in his comedy The Two Gentlemen of Verona (1593), when Speed accuses his master of "puling [whimpering or whining] like a beggar at Hallowmas".[18]
The wearing of costumes, or "guising", at Hallowmas, had been recorded in Scotland in the 16th century[19] and was later recorded in other parts of Britain and Ireland.[20] There are many references to mumming, guising or souling at Halloween in Britain and Ireland during the late 18th century and the 19th century. In parts of southern Ireland, a man dressed as a Láir Bhán (white mare) led youths house to house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla', but if they refused to do so, it would bring misfortune.[21] In Scotland, youths went house to house in white with masked, painted or blackened faces, reciting rhymes and often threatening to do mischief if they were not welcomed.[20][22][23] In parts of Wales, peasant men went house to house dressed as fearsome beings called gwrachod, or presenting themselves as the cenhadon y meirw (representatives of the dead).[20] In western England, mostly in the counties bordering Wales, souling was common.[13] According to one 19th century English writer "parties of children, dressed up in fantastic costume […] went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "soal-cakes"), apples, money, or anything that the goodwives would give them".[24]
Girl in a Halloween costume in 1928 in Ontario, Canada, the same province where the Scottish Halloween custom of "guising" is first recorded in North America
A contemporary account of guising at Halloween in Scotland is recorded in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[25] The earliest known occurrence of the practice of guising at Halloween in North America is from 1911, when a newspaper in Kingston, Ontario, Canada reported on children going "guising" around the neighborhood.[3]
American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of the holiday in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America"; "The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Burn's poem Hallowe'en as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[26] Kelley lived in Lynn, Massachusetts, a town with 4,500 Irish immigrants, 1,900 English immigrants, and 700 Scottish immigrants in 1920.[27] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries".[28]
While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[29]
The earliest known use in print of the term "trick or treat" appears in 1927, from Blackie, Alberta:
Hallowe’en provided an opportunity for real strenuous fun. No real damage was done except to the temper of some who had to hunt for wagon wheels, gates, wagons, barrels, etc., much of which decorated the front street. The youthful tormentors were at back door and front demanding edible plunder by the word “trick or treat” to which the inmates gladly responded and sent the robbers away rejoicing.[30]
The thousands of Halloween postcards produced between the start of the 20th century and the 1920s commonly show children but do not depict trick-or-treating.[31] The editor of a collection of over 3,000 vintage Halloween postcards writes, "There are cards which mention the custom [of trick-or-treating] or show children in costumes at the doors, but as far as we can tell they were printed later than the 1920s and more than likely even the 1930s. Tricksters of various sorts are shown on the early postcards, but not the means of appeasing them".[32]
Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearance of the term in 1932,[33] and the first use in a national publication occurring in 1939.[34]
Behavior similar to trick-or-treating was more commonly associated with Thanksgiving from 1870 (shortly after that holiday's formalization) until the 1930s. In New York City, a Thanksgiving ritual known as Ragamuffin Day involved children dressing up as beggars and asking for treats, which later evolved into dressing up in more diverse costumes.[35][36] Increasing hostility toward the practice in the 1930s eventually led to the begging aspects being dropped, and by the 1950s, the tradition as a whole had ceased.
Increased popularity
Almost all pre-1940 uses of the term "trick-or-treat" are from the United States and Canada. Trick-or-treating spread throughout the United States, stalled only by World War II sugar rationing that began in April, 1942 and lasted until June, 1947.[37][38]
Magazine advertisement in 1962
Early national attention to trick-or-treating was given in October, 1947 issues of the children's magazines Jack and Jill and Children's Activities,[39] and by Halloween episodes of the network radio programs The Baby Snooks Show in 1946 and The Jack Benny Show and The Adventures of Ozzie and Harriet in 1948.[40] Trick-or-treating was depicted in the Peanuts comic strip in 1951.[41] The custom had become firmly established in popular culture by 1952, when Walt Disney portrayed it in the cartoon Trick or Treat, and Ozzie and Harriet were besieged by trick-or-treaters on an episode of their television show.[42] In 1953 UNICEF first conducted a national campaign for children to raise funds for the charity while trick-or-treating.[43]
Although some popular histories of Halloween have characterized trick-or-treating as an adult invention to re-channel Halloween activities away from Mischief Night vandalism, there are very few records supporting this. Des Moines, Iowa is the only area known to have a record of trick-or-treating being used to deter crime.[44] Elsewhere, adults, as reported in newspapers from the mid-1930s to the mid-1950s, typically saw it as a form of extortion, with reactions ranging from bemused indulgence to anger.[45] Likewise, as portrayed on radio shows, children would have to explain what trick-or-treating was to puzzled adults, and not the other way around. Sometimes even the children protested: for Halloween 1948, members of the Madison Square Boys Club in New York City carried a parade banner that read "American Boys Don't Beg."[46] The National Confectioners Association reported in 2005 that 80 percent of adults in the United States planned to give out confectionery to trick-or-treaters,[47] and that 93 percent of children, teenagers, and young adults planned to go trick-or-treating or participating in other Halloween activities.[48]
Phrase introduction to the UK and Ireland
Despite the concept of trick-or-treating originating in Britain and Ireland in the form of souling and guising, the use of the term "trick or treat" at the doors of homeowners was not common until the 1980s, with its popularisation in part through the release of the film E.T.[49] Guising requires those going door-to-door to perform a song or poem without any jocular threat,[50] and according to one BBC journalist, in the 1980s, "trick or treat" was still often viewed as an exotic and not particularly welcome import, with the BBC referring to it as "the Japanese knotweed of festivals" and "making demands with menaces".[51] In Ireland before the phrase "trick or treat" became common in the 2000s, children would say "Help the Halloween Party".[4] Very often, the phrase "trick or treat" is simply said and the revellers are given sweets, with the choice of a trick or a treat having been discarded.
Etiquette
Two children trick-or-treating on Halloween in Arkansas, United States
Trick-or-treating typically begins at dusk which can vary according to region on October 31. It can range between 5:30PM–9:00PM. Some municipalities specify times that can be found on city/town sites. Some municipalities choose other dates.[52] Homeowners wishing to participate sometimes decorate their homes with artificial spider webs, plastic skeletons and jack-o-lanterns. While not every residence may be decorated for the holiday, those participating in the handing out of candy will opt to leave a porch light on to signify that the opportunity for candy is available. Some homeowners may go as far as asking trick-or-treaters for a "trick" before providing them with candy, while others simply leave the candy in bowls on the porch. In more recent years,[when?] participation has spread through whole neighborhoods, with children even visiting senior residences and condominiums.
The nonprofit Food Allergy Research & Education says on its website that in 2014 it started the practice of teal pumpkins as decorations to indicate that a house is giving out items other than food. This inspired Alicia Plumer, the mother of an autistic son, to start the blue bucket movement in 2018. Plumer's son carried a blue bucket, and National Autism Association president Wendy Fournier encouraged the use of blue buckets by other autistic children, to indicate that they might not have the abilities of other children but still deserved to be included.[53]
Local variants
Guising
"Guising" redirects here. For other uses, see Guising (disambiguation).
Halloween shop in Derry, Northern Ireland. Halloween masks are called ‘false faces’ in Ireland.[54]
In Scotland and Ireland, "guising" – children going from door to door in disguise – is traditional, and a gift in the form of food, coins or "apples or nuts for the Halloween party" (in more recent times chocolate) is given out to the children.[4][55][56] The tradition is called "guising" because of the disguises or costumes worn by the children.[2][57] In the West Mid Scots dialect, guising is known as "galoshans".[58] Halloween masks are referred to as ‘false faces’ in Ireland and Scotland.[54] While guising has been recorded in Scotland in the 16th century, a more contemporary record of guising at Halloween in Scotland is in 1895, where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[25] Guising also involved going to wealthy homes, and in the 1920s, boys went guising at Halloween up to the affluent Thorntonhall, South Lanarkshire.[59] An account of guising in the 1950s in Ardrossan, North Ayrshire, records a child receiving 12 shillings and sixpence, having knocked on doors throughout the neighbourhood and performed.[50] In Ireland, kids in their masks and costumes would commonly say "Help the Halloween Party" at the doors of homeowners.[4][60] Growing up in Derry, Northern Ireland in the 1960s, Michael Bradley recalls kids asking, “Any nuts or apples?”.[61]
There is a significant difference from the way the practice has developed in North America with the jocular threat. In Scotland and Ireland, the children are only supposed to receive treats if they perform a party trick for the households they go to. This normally takes the form of singing a song or reciting a joke or a funny poem which the child has memorised before setting out.[50] Occasionally a more talented child may do card tricks, play the mouth organ, or something even more impressive, but most children will earn plenty of treats even with something very simple. Often they won't even need to perform.[55] While going from door to door in disguise has remained popular among Scots and Irish at Halloween, the North American saying "trick-or-treat" has become common in the 2000s.[4][60]
Trunk-or-treat
Trunk-or-treating event held at St. John Lutheran Church & Early Learning Center in Darien, Illinois
Some organizations around the United States and Canada sponsor a "trunk-or-treat" on Halloween night (or on occasion, a day immediately preceding Halloween or a few days from it on a weekend, depending on what is convenient), where trick-or-treating is done from parked car to parked car in a local parking lot, often at a school or church. This annual event began in the mid-1990s as a "Fall Festival" for an alternative to trick-or-treating, but became "trunk-or-treat" two decades later. The activity involves the open trunk of a car, displaying candy, and often games and decorations. Some parents regard trunk-or-treating as a safer alternative to trick-or-treating;[62] while other parents see it as an easier alternative to walking the neighborhood with their children. Some have called for more city or community group-sponsored trunk-or-treats, so they can be more inclusive.[63] These have become increasingly popular in recent years.[64]
Other
Children of the St. Louis, Missouri area are expected to perform a joke, usually a simple Halloween-themed pun or riddle, before receiving any candy; this "trick" earns the "treat".[65] Children in Des Moines, Iowa also tell jokes or otherwise perform before receiving their treat.
In most areas where trick-or-treating is practiced, it is strictly meant for children. In fact, there are a diversity of opinions regarding when to end trick or treating, the most restrictive of which is age 12, the least restrictive at any age, and a common rule of thumb being "if you are old enough to drive a car you are too old to beg strangers for candy".[66] It is generally expected that a teenager will transition into more mature expressions of celebrating the holiday, such as fancy dress, games, and diversions like bonfires and bobbing for apples, and sweets like caramel apples, and teenagers will often attend school or community events with a Halloween theme where there will be dancing and music.[67] Dressing up is common at all ages, adults will often dress up to accompany their children, and young adults may dress up to go out and ask for gifts for a charity.
In some parts of Canada, children sometimes say "Halloween apples" instead of "trick or treat". This probably originated when the toffee apple was a popular type of candy. Apple-giving in much of Canada, however, has been taboo since the 1960s when stories (of almost certainly questionable authenticity) appeared of razors hidden inside Halloween apples; parents began to check over their children's "loot" for safety before allowing them to eat it. In Quebec, children also go door to door on Halloween. However, in French-speaking neighbourhoods, instead of "Trick or treat", they will simply say "Halloween", though it traditionally used to be "La charité, s'il-vous-plaît" ("Charity, please").[68]
In Portugal, children go from house to house in All Saints Day and All Souls Day, carrying pumpkin carved lanterns called coca,[69] asking everyone they see for Pão-por-Deus singing rhymes where they remind people why they are begging, saying "...It is for me and for you, and to give to the deceased who are dead and buried"[70] or "It is to share with your deceased"[71] If a door is not open or the children don't get anything, they end their singing saying "In this house smells like lard, here must live someone deceased". In the Azores the bread given to the children takes the shape of the top of a skull.[72] The tradition of pão-por-Deus was already recorded in the 15th century.[73] After this ritual begging, takes place the Magusto and big bonfires are lit with the "firewood of the souls". The young people play around smothering their faces with the ashes. The ritual begging for the deceased used to take place all over the year as in several regions the dead, those who were dear, were expected to arrive and take part in the major celebrations like Christmas and a plate with food or a seat at the table was always left for them.[74]
In Sweden, children dress up as witches and monsters when they go trick-or-treating on Maundy Thursday (the Thursday before Easter) while Danish children dress up in various attires and go trick-or-treating on Fastelavn (or the next day, Shrove Monday). In Norway, "trick-or-treat" is called "knask eller knep", which means almost the same thing, although with the word order reversed, and the practice is quite common among children, who come dressed up to people's doors asking for, mainly, candy. Many Norwegians prepare for the event by consciously buying a small stock of sweets prior to it, to come in handy should any kids come knocking on the door, which is very probable in most areas. The Easter witch tradition is done on Palm Sunday in Finland (virvonta). In parts of Flanders and some parts of the Netherlands and most areas of Germany, Switzerland, and Austria, children go to houses with homemade beet lanterns or with paper lanterns (which can hold a candle or electronic light), singing songs about St. Martin on St. Martin's Day (the 11th of November), in return for treats.[75] In Northern Germany and Southern Denmark, children dress up in costumes and go trick-or-treating on New Year's Eve in a tradition called "Rummelpott [de]".[76]
Trick or Treat for Charity
UNICEF started a program in 1950 called Trick-or-Treat for UNICEF in which trick-or-treaters ask people to give money for the organization, usually instead of collecting candy. Participating trick-or-treaters say when they knock at doors "Trick-or-treat for UNICEF!"[77] This program started as an alternative to candy. The organization has long produced disposable collection boxes that state on the back what the money can be used for in developing countries.
In Canada, students from the local high schools, colleges, and universities dress up to collect food donations for the local Food Banks as a form of trick-or-treating. This is sometimes called "Trick-or-Eat"." (wikipedia.org)