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1.a witty saying
EpigramEp"i*gram (?), n. [L. epigramma, fr. Gr. � inscription, epigram, fr. � to write upon, 'epi` upon + � to write: cf. F. épigramme. See Graphic.]
1. A short poem treating concisely and pointedly of a single thought or event. The modern epigram is so contrived as to surprise the reader with a witticism or ingenious turn of thought, and is often satirical in character.
Dost thou think I care for a satire or an epigram? Shak.
☞ Epigrams were originally inscription on tombs, statues, temples, triumphal arches, etc.
2. An effusion of wit; a bright thought tersely and sharply expressed, whether in verse or prose.
3. The style of the epigram.
Antithesis, i. e., bilateral stroke, is the soul of epigram in its later and technical signification. B. Cracroft.
petite chose (fr)[ClasseParExt.]
qualificatif de genre poétique (fr)[DomaineDescription]
petit poème (fr)[Classe]
poème traditionnel (fr)[Classe]
||This article contains weasel words: vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed. (March 2009)|
An epigram is a brief, interesting, memorable, and sometimes surprising or satirical statement. Derived from the Greek: ἐπίγραμμα epigramma "inscription" from ἐπιγράφειν epigraphein "to write on – inscribe", this literary device has been employed for over two millennia.
The Greek tradition of epigrams began as poems inscribed on votive offerings at sanctuaries – including statues of athletes – and on funerary monuments, for example "Go tell it to the Spartans, passersby...". These original epigrams did the same job as a short prose text might have done, but in verse. Epigram became a literary genre in the Hellenistic period, probably developing out of scholarly collections of inscriptional epigrams.
Though modern epigrams are usually thought of as very short, Greek literary epigram was not always as short as later examples, and the divide between "epigram" and "elegy" is sometimes indistinct (they share a characteristic metre, elegiac couplets); all the same, the origin of the genre in inscription exerted a residual pressure to keep things concise. Many of the characteristic types of literary epigram look back to inscriptional contexts, particularly funerary epigram, which in the Hellenistic era becomes a literary exercise. Other types look instead to the new performative context which epigram acquired at this time, even as it made the move from stone to papyrus: the Greek symposium. Many "sympotic" epigrams combine sympotic and funerary elements – they tell their readers (or listeners) to drink and live for today because life is short.
Epigrams are also thought of as having a "point" – that is, the poem ends in a punchline or satirical twist. By no means do all Greek epigrams behave this way; many are simply descriptive. Epigram is associated with 'point' because the European epigram tradition takes the Latin poet Martial as its principal model; he copied and adapted Greek models (particularly the contemporary poets Lucillius and Nicarchus) selectively and in the process redefined the genre, aligning it with the indigenous Roman tradition of 'satura', hexameter satire, as practised by (among others) his contemporary Juvenal. Greek epigram was actually much more diverse, as the Milan Papyrus now indicates.
A major source for Greek literary epigram is the Greek Anthology, a compilation from the 10th century AD based on older collections. It contains epigrams ranging from the Hellenistic period through the Imperial period and Late Antiquity into the compiler's own Byzantine era – a thousand years of short elegiac texts on every topic under the sun. The Anthology includes one book of Christian epigrams as well as one book of erotic and amorous epigrams called the Μουσα Παιδικη (Mousa Paidike, "The Boyish Muse").
Roman epigrams owe much to their Greek predecessors and contemporaries. Roman epigrams, however, were often more satirical than Greek ones, and at times used obscene language for effect. Latin epigrams could be composed as inscriptions or graffiti, such as this one from Pompeii, which exists in several versions and seems from its inexact meter to have been composed by a less educated person. Its content, of course, makes it clear how popular such poems were:
However, in the literary world, epigrams were most often gifts to patrons or entertaining verse to be published, not inscriptions. Many Roman writers seem to have composed epigrams, including Domitius Marsus, whose collection Cicuta (now lost) was named after the poisonous plant Cicuta for its biting wit, and Lucan, more famous for his epic Pharsalia. Authors whose epigrams survive include Catullus, who wrote both invectives and love epigrams – his poem 85 is one of the latter.
The master of the Latin epigram, however, is Martial. His technique relies heavily on the satirical poem with a joke in the last line, thus drawing him closer to the modern idea of epigram as a genre. Here he defines his genre against a (probably fictional) critic (in the latter half of 2.77):
Another example of an epigram by Martial:
Poets known for their epigrams whose work has been lost include Cornificia.
In early English literature the short couplet poem was dominated by the poetic epigram and proverb, especially in the translations of the Bible and the Greek and Roman poets. Since 1600, two successive lines of verse that rhyme with each other, known as a couplet featured as a part of the longer sonnet form, most notably in William Shakespeare's sonnets. Sonnet 76 is an excellent example. The two line poetic form as a closed couplet was also used by William Blake in his poem Auguries of Innocence and also by Byron (Don Juan (Byron) XIII); John Gay (Fables); Alexander Pope (An Essay on Man).
In Victorian times the epigram couplet was often used by the prolific American poet Emily Dickinson. Her poem No. 1534 is a typical example of her eleven poetic epigrams. The novelist George Eliot also included couplets throughout her writings. Her best example is in her sequenced sonnet poem entitled Brother and Sister, in which each of the eleven sequenced sonnet ends with a couplet. In her sonnets, the preceding lead-in-line, to the couplet ending of each, could be thought of as a title for the couplet, as is shown in Sonnet VIII of the sequence.
During the early 20th century, the rhymed epigram couplet form developed into a fixed verse image form, with an integral title as the third line. Adelaide Crapsey codified the couplet form into a two line rhymed verse of ten syllables per line with her image couplet poem On Seeing Weather-Beaten Trees, first published in 1915.
By the 1930s, the five-line cinquain verse form became widely known in the poetry of the Scottish poet William Soutar. These were originally labelled epigrams but later identified as image cinquains in the style of Adelaide Crapsey. J. V. Cunningham was also a noted writer of epigrams,(a medium suited to a 'short-breathed' person).
In the last decade of the 20th century the American poet Denis Garrison developed a two-line 17 syllable variation of the image couplet with his Crystalline, where euphony is the key component and a title thereto optional. An early example of this euphony, in a couplet form can be found in Edmund Spenser's Anacreontic No 1.
Occasionally, simple and witty statements, though not poetic per se, may also be considered epigrams. Oscar Wilde's witticisms such as "I can resist everything except temptation" are considered epigrams. e.g. : art lies in concealing art. This shows the epigram's tendency towards paradox. Dorothy Parker's witty one-liners can be considered epigrams. Also, Macdonald Carey's legendary line "Like sands through the hourglass, so are the days of our lives" can be considered an epigram, as the meaning of life is concisely explained in a simile.
The term is sometimes used for particularly pointed or much-quoted quotations taken from longer works.