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Consolatio (Latin: [koːnsoːˈlaːtɪ.oː]; Consolation) is a lost philosophical work written by Marcus Tullius Cicero in the year 45 BC. The work had been written to soothe his grief after the death of his daughter, Tullia , which had occurred in February of the same year.
The consolatio literary tradition ("consolation" in English) is a broad literary genre encompassing various forms of consolatory speeches, essays, poems, and personal letters. consolatio works are united by their treatment of bereavement, by unique rhetorical structure and topoi, and by their use of universal themes to offer solace. [ 3 ]
Consolation is an important topic arising in history, the arts, philosophy, and psychology. In the field of medicine, consolation has been broadly described as follows: Before and after fundamental medicine offers diagnoses, drugs, and surgery to those who suffer, it should offer consolation. Consolation is a gift.
Bereavement in Judaism (Hebrew: אֲבֵלוּת, avelut, "mourning") is a combination of minhag (traditions) and mitzvah (commandments) derived from the Torah and Judaism's classical rabbinic literature. The details of observance and practice vary according to each Jewish community.
SUNDAY. Mdou Moctar Gobi 3:30 – 4:10 – Some of the most exciting guitar-based music of this century has come out of West Africa, and Mdou Moctar and his band combine the rhythms and melodies ...
my heart's consolation and sap, Jesus fends off all suffering, He is my life's strength, my eyes' lust [voluntarism meaning: reason of being] and sun, my soul's treasure and pleasure; Therefore I will not leave Jesus out of heart and sight. —from BWV 147, chorale movement no. 10
The music for the German and English versions of the hymn is by Hans Leo Hassler, written around 1600 for a secular love song, "Mein G'müt ist mir verwirret ", which first appeared in print in the 1601 Lustgarten Neuer Teutscher Gesäng. The tune was appropriated and rhythmically simplified for Gerhardt's German hymn in 1656 by Johann Crüger.
The Consolation stands, by its note of fatalism and its affinities with the Christian doctrine of humility, midway between the pagan philosophy of Seneca the Younger and the later Christian philosophy of consolation represented by Thomas à Kempis. [10] The book is heavily influenced by Plato and his dialogues (as was Boethius himself). [10]