Memento mori (Latin: "remember (that) you will die")is the medieval Latin Christian theory and practice of reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits. It is related to the ars moriendi ("The Art of Dying") and similar Western literature. 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.
Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets and ultimately from the Phoenician alphabet.
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 Netherlandish art of the 16th and 17th centuries; they have also been created at other times and in other media and genres.
The Ars moriendi are two related Latin texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good death, explaining how to "die well" according to Christian precepts of the late Middle Ages. It was written within the historical context of the effects of the macabre horrors of the Black Death 60 years earlier and consequent social upheavals of the 15th century. It was very popular, translated into most West European languages, and was the first in a western literary tradition of guides to death and dying. About 50,000 copies were printed in the incunabula period before 1501.
In art, memento mori are artistic or symbolic reminders of mortality.In the European Christian art context, "the expression [...] developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife".
Christian art is sacred art which uses themes and imagery from Christianity. Most Christian groups use or have used art to some extent, although some have had strong objections to some forms of religious image, and there have been major periods of iconoclasm within Christianity.
Salvation is being saved or protected from harm or being saved or delivered from a dire situation. In religion, salvation is the saving of the soul from sin and its consequences.
In English, the phrase is pronounced /
Memento is the 2nd person singular future active imperative of meminī, "to remember, to bear in mind", usually serving as a warning: "remember!" Mori is the present active infinitive of the deponent verb morior, literally "to die".
In grammar, a future tense is a verb form that generally marks the event described by the verb as not having happened yet, but expected to happen in the future. An example of a future tense form is the French aimera, meaning "will love", derived from the verb aimer ("love"). English does not have a future tense formed by verb inflection in this way, although it has a number of ways to express the future, particularly the construction with the auxiliary verb will or shall or is/am/are going to and grammarians differ in whether they describe such constructions as representing a future tense in English.
Active voice is a grammatical voice common in many of the world's languages. It is the unmarked voice for clauses featuring a transitive verb in nominative–accusative languages, including English and most other Indo-European languages. A verb in such languages is usually in the active voice when the subject of the verb performs the action named.
The imperative mood is a grammatical mood that forms a command or request.
In other words, "remember death" or "remember that you will die".
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".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. 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"
Plato was an Athenian philosopher during the Classical period in Ancient Greece, founder of the Platonist school of thought, and the Academy, the first institution of higher learning in the Western world.
Phædo or Phaedo, also known to ancient readers as On The Soul, is one of the best-known dialogues of Plato's middle period, along with the Republic and the Symposium. The philosophical subject of the dialogue is the immortality of the soul. It is set in the last hours prior to the death of Socrates, and is Plato's fourth and last dialogue to detail the philosopher's final days, following Euthyphro, Apology, and Crito.
Socrates was a classical Greek (Athenian) philosopher credited as one of the founders of Western philosophy, and as being the first moral philosopher, of the Western ethical tradition of thought. An enigmatic figure, he made no writings, and is known chiefly through the accounts of classical writers writing after his lifetime, particularly his students Plato and Xenophon. Other sources include the contemporaneous Antisthenes, Aristippus, and Aeschines of Sphettos. Aristophanes, a playwright, is the only source to have written during his lifetime.
The 2nd-century A.D. 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 ancient authors attest to this, and it may have been Christian moralizing rather than an accurate historical report.
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.All memento mori works are products of Christian art. 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."
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 create 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."
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. Danse Macabre, Op. 40, is a tone poem for orchestra written in 1874 by French composer Camille Saint-Saëns.
Timepieces were formerly an apt reminder that your time 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"). Even today, clocks often carry 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. The several computerized "death clocks" revive this old idea. 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 rings were made.
A version of the theme in the artistic genre of still life is more often referred to as a vanitas , Latin for "vanity". These include symbols of mortality, whether obvious ones such as skulls or more subtle ones such as a flower losing its petals. See the themes associated with the image of the skull.
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.
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:
Memento mori was the salutation used by the Hermits of St. Paul of France (1620-1633), also known as the Brothers of Death.It is sometimes claimed that the Trappists use this salutation, but this is not true.
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.
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.
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 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 :
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.
In the annual appreciation of cherry blossom and fall colors, hanami and momijigari , the samurai 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, 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'.The second of these four is the contemplation on impermanence and death. In particular, one contemplates that;
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.
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.
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.
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 a practice text written by the 19th century Tibetan master Dudjom Lingpa for serious meditators, he formulates the second contemplation in this way.An oral commentary by the translator is available on YouTube here. "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':
།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".
The "remembrance of death" (Arabic : تذكرة الموت, Tadhkirat al-Mawt) has been a major topic of Islamic spirituality (i.e. "tazkiya" meaning self-purification, or purification of the heart) since the time of the 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. The hadith literature, which preserves the teachings of Prophet Muhammad (صلى الله عليه و سلم) , records advice for believers to "remember often death, the destroyer of pleasures." 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 the Prophet Muhammad to visit graves. Al-Ghazali devotes to this topic the last book of his "Revival of the Religious Sciences".
The Danse Macabre, also called the Dance of Death, is an artistic genre of allegory of the Late Middle Ages on the universality of death: no matter one's station in life, the Dance Macabre unites all.
Carpe diem is a Latin aphorism, usually translated "seize the day", taken from book 1 of the Roman poet Horace's work Odes.
Symbols of death are the symbolic, often allegorical, portrayal of death in various cultures. For allegorical figures that portray death, see Death (personification).
Thomas Smith was a seventeenth-century American artist and mariner. He is best known for the self-portrait that he painted c. 1680, which is 'the only seventeenth-century New England portrait by an identified artist and the earliest extant American self-portrait'.
The Ambassadors (1533) is a painting by Hans Holbein the Younger. Also known as Jean de Dinteville and Georges de Selve, it was created in the Tudor period, in the same year Elizabeth I was born. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It also incorporates a much-cited example of anamorphosis in painting. It is part of the collection at the National Gallery in London.
The Capela dos Ossos is one of the best known monuments in Évora, Portugal. It is a small interior chapel located next to the entrance of the Church of St. Francis. The Chapel gets its name because the interior walls are covered and decorated with human skulls and bones.
Charles Allan Gilbert, better known as C. Allan Gilbert, was a prominent American illustrator. He is especially remembered for a widely published drawing titled All Is Vanity. The drawing employs a double image in which the scene of a woman admiring herself in a mirror, when viewed from a distance, appears to be a human skull. The title is also a pun, as this type of dressing-table is also known as a vanity. The phrase "All is vanity" comes from Ecclesiastes 1:2 It refers to the vanity and pride of humans. In art, vanity has long been represented as a woman preoccupied with her beauty. And art that contains a human skull as a focal point is called a memento mori, a work that reminds people of their mortality.
Memento mori is a common motif in art.
Yorick is a character in William Shakespeare's play Hamlet. He is the dead court jester whose skull is exhumed by the First Gravedigger in Act 5, Scene 1, of the play. The sight of Yorick's skull evokes a reminiscence by Prince Hamlet of the man, who apparently played a role during Hamlet’s upbringing:
Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?
Shakespeare's 77th sonnet is the half-way point of the book of 154 sonnets. The poet here presents the idea of the young man taking on the role of poet and writing about himself. This sonnet makes use of the rhetorical device termed correlatio, which involves a listing and correlating of significant objects, and which was perhaps overused in English sonnets. The objects here are a mirror, a time piece and a notebook, each representing a way towards self-improvement for the young man as poet.
Memento Mori is the second studio album by American rock band Flyleaf, released through A&M/Octone Records on November 10, 2009. The title is a Latin phrase meaning "be mindful of death" or "remember you will die". Memento Mori debuted at number eight on the Billboard 200, selling 56,000 units in its opening week. It also became the first album by a female-led act to top the Billboard Hard Rock Albums chart. The album sold more than 311,600 copies in the U.S. in a little over one year.
A charnel ground, in concrete terms, is an above-ground site for the putrefaction of bodies, generally human, where formerly living tissue is left to decompose uncovered. Although it may have demarcated locations within it functionally identified as burial grounds, cemeteries and crematoria, it is distinct from these as well as from crypts or burial vaults.
"Chasm" is the fourth single by Flyleaf from their second album, Memento Mori. The song was officially available for digital download on September 27, 2010.
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 and mortality.
Pyramid of Skulls is a c. 1901 oil painting by French Post-Impressionist artist Paul Cézanne. It depicts four human skulls stacked in a pyramidal configuration. Painted in a pale light against a dark background, Pyramid of Skulls is exceptional in the artist's oeuvre, for "in no other painting did Cézanne place his objects so close to the viewer." For art historian Françoise Cachin, "these bony visages all but assault the viewer, displaying an assertiveness very much at odds with the usual reserve of domestic still-life tableaux."
Maraṇasati is a Buddhist meditation practice that uses various visualization and contemplation techniques to meditate on the nature of death. The cultivation of Maranassati is said to be conducive to right effort and also helps in developing a sense of spiritual urgency (Saṃvega) and renunciation (Nekkhamma).
Hope I is an oil painting created by Gustav Klimt in 1903. It is 189 cm x 67 cm and currently located in the National Gallery of Canada, Ottawa. The main subject of this work is a pregnant, nude female. She is holding her hands together above her stomach and close to her chest. She gazes directly at the viewer and has a great mass of hair with a crown of forget-me-not flowers placed on her head. The scene is beautiful upon first glance but once the viewer's eyes move to the background, deathlike figures become noticeably present.
In Ictu Oculi is a very large oil on canvas painting by the Spanish Baroque artist Juan de Valdés Leal. It is dated to 1670-72, and was commissioned by the Brotherhood of Charity lay confraternity for the Hospital de la Caridad, Seville, a resting place for the old and a burial ground for paupers.
Frans van Everbroeck was a Flemish still life painter who is known for his fruit still lifes, vanitas still lifes and pronkstillevens. He was active in Antwerp, Amsterdam and London.
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