Epitaph

An epitaph (from Ancient Greek ἐπιτάφιος (epitáphios) 'a funeral oration'; from ἐπι- (epi-) 'at, over' and τάφος (táphos) 'tomb')[1][2] is a short text honoring a deceased person.

Most epitaphs are brief records of the family, and perhaps the career, of the deceased, often with a common expression of love or respect—for example, "beloved father of ..."—but others are more ambitious.

Many list family members and the relationship of the deceased to them (for example, "Father / Mother / Son / Daughter of").

[6] In America and Britain, comedic epitaphs are common in the form of acrostics, palindromes, riddles, and puns on names and professions – Robert Burns, the most prolific pre-Romantic epitaphist, wrote 35 pieces, them being largely satirical.

[7] The Lake Poets have been credited with providing success to epitaph-writing adjacent to that of poetry significance – Robert Southey, in focusing simultaneously upon transience and eternity, contributed substantially.

[7] Epitaphs never became a major poetic form and, according to Romantic scholar Ernest Bernhardt-Kabisch, they had "virtually disappeared" by 1810.

[6][7] Sarcophagi and coffins were the choice of ancient Egyptians for epitaphs; brasses was the prominent format for a significant period of time.

[6] Stock phrases or standard elements present in epitaphs on mediaeval church monuments and ledger stones in England include: While you live, shine have no grief at all life exists only for a short while and Time demands his due.

This is my father's crime against me, which I myself committed against none.Good frend for İesvs sake forebeare, To digg the dvst encloased heare.

Heroes and Kings your distance keep; In peace let one poor poet sleep, Who never flattered folks like you; Let Horace blush and Virgil too.

Here sleeps at peace a Hampshire Grenadier Who caught his early death by drinking cold small beer.

Jeffrey Lewis composed Epitaphium – Children of the Sun for narrator, chamber choir, piano, flute, clarinet and percussion.

The South African poet Gert Vlok Nel wrote an (originally) untitled song, which appeared on his first music album "Beaufort-Wes se Beautiful Woorde" as "Epitaph", because his producer Eckard Potgieter told him that the song sounded like an epitaph.