#dies-irae-dies--illa

[afterhours-system]

heyyyyyyyyyyyyyyyyyyyyyyyyyy

[ image of a white cat with its tongue out ]

hiiiiiiii (●'◡'●)

[transdid]

first

hiii alej :3 twirls my hair

[you-get-me-closer-to-god]

I CAN’T STOP LISTENING TO MOZART’S REQUIEM I AM SO INSANE

[flying-fangirls]

As a music, religion, and literature nerd, the Dies Irae has been one of my favorite go-to pieces of trivia for a long time, which means that this line:

Has been driving me batshit BONKERS since part 42! And also as a semi-professional media analysis yapper, I figured I might as well dive into the exact reasons I jumped up and audibly gasped upon first hearing this line and have subsequently lost my mind since then. So!

Here is why I think that the Dies Irae is the perfect analogy for John and Arthur:

Religion

Let's start with the most straightforward meaning: "Dies Irae" is a Latin term, and it translates to the "Day of Wrath." Or otherwise known as the Judgement Day, the foretold second coming in Catholic canon, when Christ will "come again in glory to judge the living and the dead." It's at this Last Judgement where God will wield perfect justice to send the worthy to everlasting peace and the unworthy to everlasting punishment. (everyone say "thank you" to excessive childhood Catholic lessons for burning this into my brain)

There's a kind of irony to the fact that Arthur so vehemently rejects Christianity and religion as a whole, and that John spends much of his arc trying to distance himself from the role/identity of a god, yet both are given this incredibly religious title, effectively restricting them from ever forgetting the presence/influence of religion in their lives.

This title has a couple layers though, because we have to consider why it's the Day of Wrath specifically that represents Arthur and John. Now, I don't think I have to tell you that those two are bursting with anger 80% of the time. But I am going to tell you that those two are not just angry, but moreso "divine fury" incarnate.

The Day of Wrath, the Final Judgment, is the final and eternal judgment of God on all: "For now before the Judge severe / all hidden things must plain appear; / no crime can pass unpunished here." (Dies Irae, Dies Illa). The final Judge, the all-powerful God, can see the objective morality of every single person, and is thus the sole, rightful determiner of fate.

This assumption of their right to perfectly and single-handedly decide others' worthiness shows up over and over, not just John and Arthur's actions, but also in how they describe these judgments.

When Arthur kills the widow on the island, it's not because she was dangerous, but because she was a cultist who "deserved" to be punished.

When John and Arthur need to get rid of Mr. Scratch's stone, John says they should give it to "criminals" who are "deserving of this curse." Even though, just moments before, Arthur refused to give the stone to Oscar because to do so would be to cursing him to a fate of eternal suffering.

And I can't go into every single detail about the entire Larson plotline because this post would double in size, but it obviously needs to be included here. Possibly the strongest tie between this arc and the idea of the Dies Irae is Arthur's conviction through it all. Arthur vows that he is going to kill Larson in divine retribution not because he wants to, but because he has to. He even goes so far as to admit that killing Larson will be a mistake, a cruel and overly-bloodthirsty action that goes against his compassion. But killing Larson isn't a choice to Arthur, it is the unavoidable punishment for Larson's sins and Arthur is simply the enactor of justice. Just like the Final Judgment, there is no sympathy, no hesitancy— the judgment is absolute, divinely ordained, and cannot be stopped no matter how undeniably horrific it is.

If we look at the Catholic Catechism, principle 2302 states that it is sinful to kill out of desire, but that it is "praiseworthy to impose restitution" and use violence to "maintain justic." So even if Arthur has intent to kill, his actions count as divinely sanctioned. He is acting as the hand of God's punishment.

Over the course of Season 3 and 4, Arthur's fiery rage dies down to a more gentle simmer, but his conviction only seems to grow, and John follows suit. Despite previously reprimanding Arthur for his unquestioning wrath, John eventually becomes just as convinced that Larson "deserves" to face a wrathful reckoning. The "fact" that Larson is wholly unforgivable and is fated to receive eternal punishment becomes more indisputable in their minds, and they both stop questioning the morality of their intentions, entirely convinced of their judgment.

Throughout the story, Arthur and John insist upon the importance of kindness, compassion, and forgiveness, and say that these are the values that guide their every action. Yet, time and time again, they approach certain people with nothing but wrath and resentment. It's a sharp contrast to the benevolent figures they make themselves out to be, and Arthur and John are often blind to the contradiction because, in their eyes, they are still following those values in every action. And in the moments when they do recognize their horrific words or actions, they still cannot let their judgment go, convinced that it is their "duty" either way.

In Part 35, Arthur says "Just because you can't make the hard decision, doesn't mean it's wrong." This is exactly how John and Arthur view themselves. They know that some of their actions are harsh and violent and painful, but they are don't view that violence as wrong, because they are enacting that violence in justice. They move through life with carefully-selected destruction, culling the world of those they view as unforgivable sinners, and punishing them with divine righteousness. Arthur and John carry righteous fury in their every step, bringing the Day of Wrath down upon the world around them.

Now, there's already a ton of meaning just in this religious allusion alone. However, there's another application of the Dies Irae in modern culture, which brings us to the second side of this title:

Music

Back in the 13th century (sounds like a familiar setting...), friar Thomas of Celano wrote a poem for and about the Dies Irae. The poem was recited at Requiem Mass (church services to honor the dead), and it ended up being set to a Gregorian chant tune.

Over time, this melody has been used by a variety of composers, but the one we're focused on is Hector Berlioz. In 1837, Berlioz used the Dies Irae melody as part of his narrative symphony, Grand Messe de morts, in order to communicate that the main character had died. Then a lot of other composers saw that and said "Hey that's a cool idea!", and started also using this melody to represent death in their music. Nowadays, it's a fairly staple part of modern film and musical storytelling. If you've listened to literally any major soundtrack, then there's a good chance you've heard this motif (or a variation of it) used before. It's often subtle, sometimes loud and obvious, but no matter what, it reveals the inevitable presence of death. (essentially, the Dies Irae=death)

Now, obviously there's something tragically ironic about Arthur being likened to a musical motif when he tries so hard to distance himself from it, and there's something tragically ironic about John being associated with such a dark piece of music when he shows so much fascination and joy toward the art. Again, though, we've got some layers here. Yorick doesn't just compare Arthur and John to the Dies Irae, he literally defines them as the Dies Irae, a full embodiment of it.

Even before the story started, Arthur lost both of his parents, his friend and wife, his daughter, and his best friend.

John, when he was part of the King in Yellow, knew only how to harm and attack. In the Dark World, he falls back on this fearful lashing out with violence, harming even more people.

And throughout the story, John and Arthur seem to bring devastation to everyone else around them: Lilly the buopoth, Oscar, Noel, Collins, Daniel, Larson and Yellow.

The arrival of Dies Irae musical motif in a film always indicates that death is approaching or that is has already struck— a host carrying its blight to spread onto others. Just like the musical motif, the arrival of Arthur and John foretells the near-arrival of death. They play a duet together— John and Arthur, and death— always singing and dancing around and with each other.

These two never succumb to death, always finding a way to slip through its fingers and survive every situation. But they cannot escape death's presence because they are death's partner— singing the melody to death's subtle harmony. They cannot escape death because they are its host— destined to carry and spread devastation to death's victims. From the moment you meet John and Arthur, you know that death is inevitably approaching just a step behind, waiting to strike you down.

Whether it's the religious or musical side, we can see that John and Arthur are the literal embodiment of these allusions. They carry these powers and ideas in their every action and word, in their every step, in their very breath and blood.

Arthur and John. The hands of God's justice. The enactors of divine fury.

Arthur and John. The hosts of blight and destruction. The partner of death's song.

The man himself. The voice inside his head.

The Day of Wrath. The Dies Irae.

[tobbogan-13]

dies irae

dies irae

dies illa

dies illa

solvet saeclum in favilla

AHH AHHH AHH

AHH AHHH AHH

AHH AHH AHH AHH AHH AHHH

KYRIE ELEISON

[bl00dyghoul2]

Verdi- Dies Irae Requiem (Karajan)

Dies iræ, dies illa, Solvet sæclum in favilla: Teste David cum Sibylla.

[8o8o8o8o8]

Metafiction King Minos and Gabriel. This one's a bit weird

A flash of violet neon from the streets below threw Gabriel’s face into shadows, backlit, villainous. There's a soft melody repeating in the air, a little eight-note thing of electrical hum and tram car rattles. Minos liked to imagine it's the city singing him goodbye; knew it was something far bigger and more uncaring.

Dies irae dies illa…

Harbinger of death in musical form. Gabriel's intentions were clear enough. The angel looked down at the golden blade in his hand in unreadable silence. Suddenly, he snorted.

“It’s excessively cruel that this is the sword I'm supposed to kill you with, isn't it? This is hardly an act of Justice.” Minos could feel his face twitch as if trying to blink through the thorns over his eyes. “Shitty symbolism nonsense…” Gabriel muttered.

His balcony had returned to its flat dark palette. The tension drained away like blood from a—no. Minos would rather not remind the narrative of Sisyphus' decapitated head in his own death scene, lest he give it ideas.

Gabriel was looking at him as if he forgot a line; he scrambled for something to say.

…Oh to hell with it, the scene was already thoroughly ruined. “Thou art breaking character.”

“We haven't even reached the beginning yet. No one will know how this—” he gestures at Minos with a flick of his sword— “went down. Aside from the broad strokes, I suppose.”

“Nonetheless, ‘twas not the time to comment on the meaning of thy choice of weapon!” If he's a little hysterical, the atmosphere didn't pick it up. It kept droning the same eight notes, waiting for the two of them to pick their instruments back up and get on with the show.

Gabriel winced visibly. “Ah, apologies. I—well…” He turned away in exhausted recollection. “I subdued the Leviathan. Killed Sisyphus. Saved the Ferryman. This is the last scene before… Of the before. There's nothing but nothing from now until whenever it begins. I'm dreading the wait.”

[officialdaydreamer00]

- Dies irae, dies illa -

"Holy be thy name, God of Warth, God of Fools,

Holy be thy bloody lance, holy be thy flaming tools."

The redheaded high priest knelt, prayinh at the feet of the statue of his beloved god, praying to hear their voice, praying for them to heed his call. Would his God appear before their loyal subject, who sacrificed so much in pursuit of their Grace and in pursuit of being their favorite - blood, riches... his very own heart?

***

"My Little Crimson Priest...

Pray for deliverance.

QUESTION NOT THE FORM IT ARRIVES IN."

(Elysium request: Priest Riddle x God Reader pls <3 Feel free to skip if you want <333)

"The Priest in red, devoted to whom he prays for

Shall learn their benevolence exists no more

The deity who lost, forgotten by time

Shall rise again to the third bell's chime

Witness first hand the lost one's wrath

And bound to forever walk on a crimson path."

pairing: riddle rosehearts x reader

content: it was supposed to be a short drabble ;-; this is a oneshot, reader is vaguely based after the goddess nemesis, mentions of religions and blood, there is probably crumbs of fluff in a sea of possessive behaviours but that's to be expected when dealing with gods, probably ooc riddle, greek mythology

the oracle speaks — genuinely one of the most jaw dropping requests i received (i don't like the ending i wrote hhhhhh)

The Fates cannot save you now. I am sorry, my child.

— the church bell chimed at three o' clock exactly in the afternoon.

riddle still knelt there, in a far corner of a temple, dutifully praying to the lone statue of the god he sworn his loyalty to.

in the midst of a quiet atmosphere, riddle briefly wondered how long he had been kneeling there for. time only seemed to keep passing by whenever he did what he was supposed to do, as per the elders' words.

he recalled the event a few years ago, how he, along with several children around his age, was chosen to be this god's followers. over the years, the number of their followers dropped, significantly so, that only riddle and a devoted priest was left. alas, they, too, left, leaving him all alone in this deserted temple.

riddle was baffled, how could someone just... abandon their god, the one they had sworn utmost loyalty to like that? especially when the god they prayed for favoured absolute balance, wouldn't the injustice left them wither with hatred? wouldn't they punish those who dared leaving them in favour of the others?

as far as riddle knew, regardless of what they represented, they were still a god, and they should have been treated as such. he looked up at their statue, their altar lit with candles and a plate of blood offering— his blood, and on his face gleamed a determined look.

he chanted his prayers, one that he had learned by heart, over and over again. if only his god could give him a chance. a chance to prove himself, his loyalty to them, and only them.

he heard a soft chuckle, and the next thing he knew, arms embraced him from behind. they were wrapped around his torso and over his eyes, like a pair of poisonous snakes, slowly tightening the squeeze as to puncture his lungs had his ribs had cracked from the pressure.

but the thing that finally set him on edge, was their presence. it was so familiar, he swore he had it on the tip of his tongue. but something about that presence was... off.

"my, my... it seems that i still have such a devoted mortal as my subject."

riddle felt his heart dropped. they called him a mortal, as if they themself was not one. the gears were turning as the rest of their words finally weight on him.

it was them.

"y-you're—" he wanted to turn around, to see his beloved god, to bask in their glowing glory. but the restraints that was their arms held him tight in his place.

"now, now, my dear." they chuckled again. "i do not want my precious final follower be burned for his little mistake."

riddle felt a piece of fabric was tied around his eyes. internally, he was a bit miffed that he couldn't see them with his own two eyes, but he would respect their wishes. however, there was a faint metallic smell wafted to his senses, and now that he thought about it, he hadn't seen the old patron priest anywhere, it was dead silent since he came here.

riddle felt himself being picked up and cradled in one's arms. their comforting presence calmed him down, as he let the god carry him as they wanted. he yawned, a sudden wave of drowsiness hit him.

succumbing to a dreamless sleep, he never got to see the soft smile his god had on their face. their eyes, however, held an unsettling emotion.

"I will not let you leave me. My dearest Crimson Priest."

🏷️ @dove-da-birb @identity-theft-101 @cookiesandbiscuits + riddle kissers ig

remember to reblog if you enjoy my works! ^-^

[bookshelfdreams]

The perfection that is the Allegretto from Beethoven's 7th for the final confrontation between Ed and Izzy

and how it contrasts with the other Big Dramatic Classical piece - the one Blackbeard was introduced with in Season 1 - the Dies Irae from Verdi's Requiem.

The Dies Irae is a medieval poem about judgement day; the apocalypse. We introduce Blackbeard, the Mad Devil Pyrate, the harbinger of doom, the bringer of death and destruction, with a wailing choire, crying, screaming about Death. The end of days has come; dies iræ, dies illa, solvet sæclum in favilla. Day of wrath, this day, will dissolve the world in ashes.

Because that's what Blackbeard is, Not a demon, I'm the fuckin' Devil. He can't be bargained with, or begged for mercy. He's inevitable, like a thunderstorm, like hellfire. Blackbeard knows no fear and feels no pain, he's terrifying, he can never be hurt.

(Never be loved, either, but that's a small price to pay, isn't it? Hah.)

But the facade is crumbling. His reign of terror just isolates him; he's hurt and he's tired, so when he goes to the one who should have been his friend, should have had his back and didn't - when he goes to Izzy for one last confrontation

to ask him for the one thing no one but Izzy is ruthless enough to do

we get the Allegretto. Beethoven's 7th is a celebration of german victory over Napoleon at Leipzig in 1813, but the second movement is a funeral march. It's slow and measured, solemn. Fragmented in places, haunting. There's a few moments of triumph in it, but only glimpses; mostly it rises and falls without breaking. It's the look over a battlefield after the dust settles. The unwrapping of a memorial to the fallen. It's a shuddering breath after the crying is over.

For better or for worse, it's a slow, steady march away from destruction towards the future. The battle is done. Ed must go on, and he does; goes into the underworld, all on his own.

(the Allegretto starts at 14:22)

(Dies Irae at 9:35)

(and, among all this stuff about death and religion and the underworld, what do we get when Stede and Ed first lay eyes on each other? Our Prayer by the fucking Beachboys. The only faith that matters is the faith in ourselves. I have heard all about you.)

[rqstamps]

stamp batch #13

requested by @dies-irae-dies--illa

O1. — NECRO4NECRO

O2. — TRANSSWEENYTODD

O3. — TRANSVICTORIAN

[afterhours-system]

🌻 rq tumblr when 👀

i dont know 😔

[smokeyloki]

One of my music activities for my students in October is, every week, playing a bit of a "spooky" piece of Classical music and having my students analyze it by asking some simple questions.

So far we've done:

Toccata and Fugue in D Minor by Bach

Dies Irae, Dies Illa by Thomas of Celano, including the arrangements by Mozart and Verdi

Next week we'll be doing Danse Macabre by Camille Saint-Saens.

Still not sure what to do for the last week in October. I was thinking The Sorcerer's Apprentice, perhaps...but there might be shorter options that I can play the piece in full for my students.

[a-d-nox]

Hiiii🧚🏻‍♂️

Can u speak about asteroid lacrimosa? That intrigues me so much, I can't find almost any information. I also would love to know how it would work in synastry?

I also have lacrimosa in scorpio conjuct venus and conjuct rising in asc pc in capricorn, that could give me a nostalgic look? or suffered? people ask me if i'm ok all the time lol also have chiron conjunct asc so yea anyways?

thank u for read love your blog sorry for the lenght 🌨️

lacrimosa, our lady of sorrows - mother mary (asteroid 208)

hi, i won't be answering the aspects portion of this ask because i do not respond to asks regarding asteroids i have not covered out of fairness to others and to the asker (it is for the best that you see where i may draw from when doing interpretation). after reading the my interpretation of the myth and you are still interested in your prior question please resubmit your prior question/ask!

on to mary.

Lacrimosa, Latin for "weeping" or "teary," is most often linked to The Virgin Mary, or "The Lady of Sorrows." The appearance of the phase "Lacrimosa" is linked to the Roman Catholic Requiem sequence "Dies Irae": "Lacrimosa dies illa / Qua resurgent ex favilla / Judicandus homo reus. / Huic ergo parce, Deus: / Pie Jesu Domine / Dona his requiem. Amen." In English this roughly translates to: "Tearful is the day / When risen from ashes / Guilty men are to be judged. / Spare him, God: / Pious (righteous) Jesus / Grant them rest. Amen." As a mini crash course: Mary is Christian derived figure referred to as St. Mary, the Virgin Mary, Miriam, Maryam, second Eve, the immaculate one, etc. In the Biblical section the book of Luke, Mary is visited by an angel while she is engaged to be married to Joseph, who is a descendant of Abraham just like Mary herself. The angel tells Mary that God has favored her and she is to give birth to God's son, whose name will be Jesus. Mary was confused because she was a virgin - the angel stated that the Holy Spirit would be upon her. Mary told the angel that she was God's faith servant and that what the angel said would be divinely done to validate her understanding. When Mary informed Joseph that she was to have God's son he continued, as planned, to marry her because he too was a loyal servant of God. Mary would later travel to Bethlehem and give birth to Jesus. Mary and Joseph had many more children - Mary appears again in the Bible when Jesus performs His miracles and to witness His crucifixion. Which brings us back around to why is Mother Mary called "The Lady of Sorrows." Mary's title of "The Lady of Sorrows" comes from the moment of his death, as she is said to have faced intense suffering/grief during the passionate death of Jesus. IN MY OPINION Lacrimosa in your chart can represent a) where you experience heartbreak, b) where you grieve someone you look up to, c) where you are innocent and trusted with a divine purpose, and/or d) what your greatest sorrow is.

i encourage you to look into the aspects of lacrimosa along with the sign, degree, and house placement. for the more advanced astrologers, take a look at the persona chart of lacrimosa!

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[turangalila]

Orazio Vecchi (1550-1605) – IV. Dies irae. Missa Pro defunctis [Missae senis et octonis vocibus ex celeberrimis auctoribus Horatio Vecchio aliisque collectae nomina pagina versâ invenies. (Pierre Phalèse, Antwerp, 1612.)]

Dies iræ, dies illa, / Solvet sæclum in favilla, / Teste David cum Sibylla! / Quantus tremor est futurus, / quando iudex est venturus, / cuncta stricte discussurus! // Tuba mirum spargens sonum / per sepulcra regionum, / coget omnes ante thronum. / Mors stupebit et Natura, / cum resurget creatura, / iudicanti responsura. / Liber scriptus proferetur, / in quo totum continetur, / unde Mundus iudicetur. / Iudex ergo cum sedebit, / quidquid latet apparebit, / nil inultum remanebit. / Quid sum miser tunc dicturus? / Quem patronum rogaturus, / cum vix iustus sit securus? // Rex tremendæ maiestatis, / qui salvandos salvas gratis, / salva me, fons pietatis. // Recordare, Iesu pie, / quod sum causa tuæ viæ; / ne me perdas illa die. / Quærens me, sedisti lassus, / redemisti crucem passus, / tantus labor non sit cassus. / Iuste Iudex ultionis, /donum fac remissionis / ante diem rationis. // Ingemisco, tamquam reus, / culpa rubet vultus meus, / supplicanti parce Deus. / Qui Mariam absolvisti, / et latronem exaudisti, / mihi quoque spem dedisti. / Preces meæ non sunt dignæ, / sed tu bonus fac benigne, / ne perenni cremer igne. / Inter oves locum præsta, / et ab hædis me sequestra, / statuens in parte dextra. // Confutatis maledictis, / flammis acribus addictis, / voca me cum benedictis. / Oro supplex et acclinis, / cor contritum quasi cinis, / gere curam mei finis. // Lacrimosa dies illa, / qua resurget ex favilla / iudicandus homo reus. / Huic ergo parce, Deus. / Pie Iesu Domine, / dona eis requiem. // Amen.//

_

Orazio Vecchi – Requiem. Rubens’s Funeral And The Antwerp Baroque. Graindelavoix. Björn Schmelzer (2017, Glossa – GCD P32113)

[necarion]

Cursed discovery last week: the scansion of the Dies irae fits perfectly into "Deck the Hall". The only modification, for all but the last verse, is that you have to repeat the first line twice.

Dies irae, dies illa, falalalala - la la la la Dies irae, dies illa, falalalala - la la la la Solvet sæclum in favilla: - falala lalala la la la Teste David cum Sibylla. - falalalala - la la la la.

Day of wrath and doom impending! David's word with Sibyl's blending, Heaven and earth in ashes ending!

It's particularly great with the Tuba mirum and especially the Confutatis maledictis.

Confutatis maledictis, falalalala - la la la la Confutatis maledictis, - la la la la Flammis acribus addictis, - falala lalala la la la Voca me cum benedictis. - falalalala - la la la la.

When the wicked are confounded, Doomed to flames of woe unbounded, Call me with Thy blessed surrounded.

[autistic-autumn]

feeling kind of dies irae dies illa today