For Pagans (such as Pagan chaplains, maybe) who wish to have a “few words” at the ready in the case of a Pagan’s demise, the Funeral Speech over Imogen in Shakespeare’s Cymbeline (c. 1611) is famously eloquent. Set like King Lear in Romanized, Celtic Britain, Cymbeline is self-consciously Pagan (indeed, an important theme is the ennobling quality of those who live in close connection with Nature, a very Pagan-friendly theme reiterated by Thoreau, Whitman, and the Romantic poets). Cymbeline’s plot can be a bit difficult to follow in linear fashion, but: in order to escape the Wicked Queen (Cymbeline is a lot like a Faerey-Story), Imogen disguises herself as a young man, and journeys to the Wilderness Frontier of Wales. Here she drinks a potion that causes her to fall into a death-like sleep (this section is very much like Snow White); finding this young “man’s” supposedly lifeless body, two noble shepherds speak a beautifully moving “dirge” over “him” (it is meant to be sung, but I don’t see why it can’t be spoken):
Fear no more the Heat of the Sun, nor the furious Winter’s Rages: Thou thy worldly Task has done; Home art gone, and ta’en thy Wages. Golden Lads and Girls all must, as chimney-sweepers, come to Dust.
Fear no more the Frown of the Great; thou art past the Tyrant’s Stroke. Care no more to Clothe and Eat; to thee the Reed is as the Oak. The Scepter, Learning, Physic, must: all follow this, and come to Dust.
Fear no more the Lightening-Flash, nor the all-dreaded Thunder-Stone. Fear not slander, censure rash; thou hast finished Joy and Moan. All Lovers young, all Lovers must: consign to Thee, and come to Dust.
No Exorciser harm thee! Nor no Witchcraft charm thee! Ghost Unlaid forbear thee! Nothing ill come near thee! Quiet Consummation have, and renowned be thy Grave. (Act IV, scene ii, lines 258-280)
It is a little unfortunate, that the last segment (which catalogues all the Supernatural things that the Departed need no longer worry over, such as Harmful Exorcists and “unlaid”- restless- Ghosts), also includes Witchcraft as a Harmful thing. The “Charms” of Witchcraft- hexes, curses, malign spells- were often viewed in a negative light by the Elizabethans and the Jacobeans. Perhaps a Pagan chaplain can figure out how to rework that line, so that it doesn’t sound so “anti-Witch.”
One further, kind-of important thing: in the last line- “and renowned be thy grave”- “renowned” is meant to be spoken with an Elizabethan Fillip at the end: ie, “re- nown- ned.” One does not speak it with the Customary Modern Usage “Re- nown [duh],” that is, with 2 syllables: but with the extra-Elizabethan fillip- denoting emphasis- “Re- nown- NED,” that is, with 3 syllables.
It is like our use “Blessed Be,” pronounced with the Fillip: Bless- SED! Be.
I would go with “no witchcraft HARM thee” that way the meaning is changed to protect exclusively from negative energy without the the implication that all witchcraft is such, and it’s as close to the original as possible.
Ah! I like that, it’s very clever: Nor no Witchcraft HARM Thee! That works very well!
No, wait, I’m sorry: that actually creates another problem, because the line before is, No Exorciser Harm Thee. So one is saying that neither Those who Perform Exorcisms or Those who Use Witchcraft can harm thee, once thou is dead, which is a little repetitive. Maybe the thing is to switch the verbs: No Exorciser Charm thee, nor No Witchcraft Harm thee.
That might be the way to go.
I changed the entire last verse except the last line using lines from sonnets:
Hear, nature, hear: Dear Goddess hear
Crown them with flowers and make them your joy
Who taught thee how to make me love thee
Quiet Consumption have and Renowned be thy grave
I also sang it here:
http://youtu.be/5cSQr5qWHhw
Hey Gary- that’s really nice; thank you!
[...] time ago, I introduced at the Juggler the idea that Shakespeare’s Pagan Funeral Speech from his late-Romance Cymbeline might make an [...]