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Danse Macabre

For other uses, see Danse Macabre (disambiguation). "Dance








see Dance



(disambiguation) and Dance of the Dead (disambiguation). Dance




Muerte (Spanish), Dansa

variously de


called Danse

Macabre (French), Danza

Mort (Catalan), Danza


Macabra (Italian), Dança

la da

Morte (Portuguese), Totentanz (German), Dodendans (Dutch), is an artistic genre of latemedieval allegory on the universality of death: no matter one's station in life, the Dance of Death unites all. The Danse Macabre consists of the dead or personified Death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and labourer. They were produced to remind people of the fragility of their lives and how vain were the glories of earthly life.[1] Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now lost mural in the Saints Innocents Cemetery in Paris dating from 1424-25. The earliest recorded visual example is from the cemetery of the Church of the Holy Innocents[disambiguation



in Paris (1424–25). There were also painted schemes

in Basel (the earliest dating from c.1440); a series of paintings on canvas by Bernt Notke, in Lübeck (1463); the initial fragment of the original Bernt Notke painting (accomplished at the end of the 15th century) in the St Nicholas' Church, Tallinn, Estonia; the painting at the back wall of the chapel of Sv. Marija na Škrilinama in the Istrian town of Beram (1471), painted by Vincent from Kastav; and woodcuts designed in the early 1520s by Hans Holbein the Younger and executed by Hans Lützelburger (published 1538). There was also aDance of Death painted in the 1540s on the walls of the cloister of St Paul's Cathedral, London with texts by John Lydgate, which was destroyed in 1549. The deathly horrors of the 14th century—such as recurring famines; the Hundred Years' War in France; and, most of all, the Black Death—were culturally assimilated throughout Europe. The omnipresent possibility of sudden and painful death increased the religious desire for penitence, but it also evoked a hysterical desire for amusement while still possible; a last dance as cold comfort. The danse macabre combines both desires: in many ways

similar to the mediaeval mystery plays, the dance-with-death allegory was originally a didactic dialogue poem to remind people of the inevitability of death and to advise them strongly to be prepared at all times for death (see memento mori and Ars moriendi). Short verse dialogues between Death and each of its victims, which could have been performed as plays, can be found in the direct aftermath of the Black Death in Germany (where it was known as the Totentanz, and in Spain as la Danza de la Muerte). The French term danse macabre may derive from the Latin Chorea Machabæorum, literally "dance of the Maccabees."[2][3] In 2 Maccabees, adeuterocanonical book of the Bible, the grim martyrdom of a mother and her seven sons is described, and was a well-known mediaeval subject. It is possible that the Maccabean Martyrs were commemorated in some early French plays or that people just associated the book’s vivid descriptions of the martyrdom with the interaction between Death and its prey. An alternative explanation is that the term entered France via Spain, the Arabic word maqabir (cemetery) being the root of the word. Both the dialogues and the evolving paintings were ostensive penitential lessons that even illiterate people (who were the overwhelming majority) could understand. Furthermore, frescoes and murals dealing with death had a long tradition and were widespread, e.g. the legend of the Three Living and the Three Dead: on a ride or hunt, three young gentlemen meet three cadavers (sometimes described as their ancestors) who warn them, Quod fuimus, estis; quod sumus, vos eritis (What we were, you are; what we are, you will be). Numerous mural versions of that legend from the 13th century onwards have survived (for instance, in the hospital church of Wismar or the residential Longthorpe Tower outside Peterborough). Since they showed pictorial sequences of men and corpses covered with shrouds, those paintings are sometimes regarded as cultural precursors of the new genre. A danse macabre painting may show a round dance headed by Death or a chain of alternating dead and live dancers. From the highest ranks of the mediaeval hierarchy (usually pope and emperor) descending to its lowest (beggar, peasant, and child), each mortal’s hand is taken by a skeleton or an extremely decayed body. The famous Totentanz by Bernt

Notke in Lübeck’s Marienkirche(destroyed



Allied Bombing of Lübeck in World War II) presented the dead dancers as very lively and

agile, making the impression that they were actually dancing, whereas their living dancing partners looked clumsy and passive. The apparent class distinction in almost all of these paintings is completely neutralized by Death as the ultimate equalizer, so that a sociocritical element is subtly inherent to the whole genre. The Totentanz of Metnitz, for example, shows how a pope crowned with his mitre is being led into Hell by the dancing Death. Usually, a short dialogue is attached to each victim, in which Death is summoning him (or, more rarely, her) to dance and the summoned is moaning about impending death. In the first printed Totentanz textbook (Anon.: Vierzeiliger oberdeutscher Totentanz, Heidelberger Blockbuch, approx. 1460), Death addresses, for example, the emperor: Emperor, your sword won’t help you out Sceptre and crown are worthless here I’ve taken you by the hand For you must come to my dance At the lower end of the Totentanz, Death calls, for example, the peasant to dance, who answers: I had to work very much and very hard The sweat was running down my skin I’d like to escape death nonetheless But here I won’t have any luck The dance finishes (or sometimes starts) with a summary of the allegory's main point: Wer war der Thor, wer der Weise[r], "Who was the fool, who the wise [man], Wer der Bettler oder Kaiser? who the beggar or the Emperor? Ob arm, ob reich, im Tode gleich. Whether rich or poor, [all are] equal in death." The earliest known depiction of a print shop appears in a printed image of the Dance of Death, in 1499, in Lyon, by Mattias Huss. It depicts a compositor at his station, which is

raised to facilitate his work, and a person running the press. To the right of the print shop, an early book store is shown. Early print shops were gathering places for the literati. "Death and the Maiden" and other allusions The motif "Death and the Maiden", is related to, and may have been derived from the Danse Macabre. It has received numerous treatments in various mediums - most prominently Schubert's quartet of that name. Further developments of the Danse Macabre motif include "Death and the Physician," "Death and the Senator," "Death and the Compass," "Death and the King's Horseman," and "Death and the Daleks". See also 

Death (Tarot card)

La Calavera Catrina


Skeleton (undead)

The Seventh Seal


Notes 1.

^ "Dance of Death". Catholic Encyclopedia. 2007.02.20.





References 

Israil Bercovici (1998) O sută de ani de teatru evriesc în România ("One hundred

years of Yiddish/Jewish theater in Romania"), 2nd Romanian-language edition, revised and augmented by Constantin Măciucă. Editura Integral (an imprint of Editurile Universala), Bucharest. ISBN 973-98272-2-5. 

James M. Clark (1950) The Dance of Death in the Middle Ages and Renaissance.

André Corvisier (1998) Les danses macabres, Presses Universitaires de France. ISBN


Rolf Paul Dreier (2010) Der Totentanz - ein Motiv der kirchlichen Kunst als

Projektionsfläche für profane Botschaften (1425-1650), Leiden, ISBN 978-90-902511-10 with CD-ROM: Verzeichnis der Totentänze, also on 

Sophie Oosterwijk and Stefanie Knoell (2011), Mixed Metaphors. The Danse Macabre

in Medieval and Early Modern Europe, Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-2900-7. 

Ann Tukey Harrison (1994), with a chapter by Sandra L. Hindman, The Danse

Macabre of Women: 995 of the Bibliothèque Nationale, Kent State University Press. ISBN 0-87338-473-3. 

Romania, National Library of ... - Illustrated Latin translation of the Danse macabre,

late 15th century. treasure 4 Bibliography 

Elina Gertsman (2010), The Dance of Death in the Middle Ages. Image, Text,

Performance. Studies in the Visual Cultures of the Middle Ages, 3. Turnhout, Brepols Publishers. ISBN 978-2-5-3-53063-5 

[1] Sophie Oosterwijk (2004), 'Of corpses, constables and kings: the Danse Macabre

in late-medieval and renaissance culture', The Journal of the British Archaeological Association, 157, 61-90. 

[2] Sophie Oosterwijk (2006), '"Muoz ich tanzen und kan nit gân?" Death and the

infant in the medieval Danse Macabre', Word & Image, 22:2, 146-64. 

Sophie Oosterwijk (2008), 'Of dead kings, dukes and constables. The historical

context of the Danse Macabre in late-medieval Paris', Journal of the British Archaeological Association, 161, 131-62. 

[3] Sophie Oosterwijk (2008), '"For no man mai fro dethes stroke fle". Death and

Danse Macabre iconography in memorial art', Church Monuments, 23, 62-87, 166-68 

[4] Sophie Oosterwijk and Stefanie Knoell (2011), Mixed Metaphors. The Danse

Macabre in Medieval and Early Modern Europe. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-2900-7. 

Marek Żukow-Karczewski, Taniec śmierci (Dance macabre), "Życie Literackie"

("Literary Life" - literary review magazine), 43/1989.

Danse Macabre