Posted by EconomyLand | Posted in macabre , medieval literature , The legend , three living and three death | Posted on 06:40:00
The legend of the three living and the three dead most presumably originates from France. The most seasoned original copies backpedal to the thirteenth century: they contain lyrics of Baudoin de Condé, of Nicolas de Margival and of two obscure scholars. The plot of "the legend" is somewhat straightforward: three cadavers (speaking to ministers) meet with three living (a duke, a check, and a sovereign). The last are startled by this experience. The dead address the three rich men, encouraging them to atone, "For example, I was you are, and, for example, I am you will be. Riches, respect and influence are of no incentive at the hour of your passing.". Condé's ballad is delineated by a smaller than expected. In his form, the living go by foot. In the Master of the Book of Reason's, painted toward the finish of the fifteenth century, they are riding stallions and prepared to go chasing. Their startled puppies encompass them. The dead don't appear to be individuals from the pastorate, yet rather the pairs of the three living. "The legend" was frequently painted in the open air in holy places to go with a move of death, as in Paris, Meslay-le-Grenet, Kermaria, La Ferté-Loupière, in spite of the fact that it now and again remains without anyone else, as in: Sempach(1300-1310, Switzerland), Bregninge (vers 1400, Denmark)***, Überlingen (vers 1424, Germany), Tuse (1450-1475, Denmark)*** It merits seeing that we don't have the foggiest idea about any lyrics or pictural portrayals of this subject past the sixteenth century.
Clearly "the legend" has similitudes with the move of death; in any case, the previous can't be viewed as the last's immediate forerunner. In both types, there is an exchange between the living and the dead, and also a division into social classes. On the opposite side, the move of death has frequently more than twenty characters, while "the legend" has just three. On one didactical point, the two types are similar: both utilize the complexity between the wonderfulness of the living, who are rich and respectable, and the repulsiveness of the spoiling carcasses to demonstrate that even the mightiest of men must pass on. Rich and poor are equivalent in death. Be that as it may, there is a huge error in the reasoning of the two sorts. In the move of death, the ringer has as of now tolled and all individuals must join the move: it is past the point where it is possible to apologize. In any case, in "the legend", the dead attempt to convince the living to apologize. See additionally that move, under any shape, never shows up in "the legend".
Clearly "the legend" has similitudes with the move of death; in any case, the previous can't be viewed as the last's immediate forerunner. In both types, there is an exchange between the living and the dead, and also a division into social classes. On the opposite side, the move of death has frequently more than twenty characters, while "the legend" has just three. On one didactical point, the two types are similar: both utilize the complexity between the wonderfulness of the living, who are rich and respectable, and the repulsiveness of the spoiling carcasses to demonstrate that even the mightiest of men must pass on. Rich and poor are equivalent in death. Be that as it may, there is a huge error in the reasoning of the two sorts. In the move of death, the ringer has as of now tolled and all individuals must join the move: it is past the point where it is possible to apologize. In any case, in "the legend", the dead attempt to convince the living to apologize. See additionally that move, under any shape, never shows up in "the legend".
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