Macabre
In these works, there is an emphasis on the details and symbols of death. Macabre themes are often preoccupations in the Goth subculture.
History
This quality is often found in Latin writers, though there are traces of it in Apuleius and the author of the Satyricon.
The outstanding instances in English literature are John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, and Cyril Tourneur. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in English as the Dance of Death and in German as Totentanz.
The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings.
The famous series at Basel, originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century.
In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain.
Here there are twenty-four figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe. At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire.
At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre. The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example.
It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.
The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with the "The Triumph of Death", attributed to Orcagna, in the Campo Santo at Pisa.
Etymology
The etymology of the word "macabre" is uncertain. The seven tortured brothers, with their mother and Eleazar were prominent figures on this hypothesis in the supposed dramatic dialogues.