John Gait once wrote: 'The attainment of honours and dignities is not enjoyed without a portion of trouble and care, which, like a shadow, follows temporalities.' Very sensible of the honour which the Association has bestowed on me, I am also aware of the need, as it were, of singing for my supper; there is ever difficulty in choosing a subject of sufficient range to fit this occasion. On reflection, the Renaissance epitaph seemed to me to be one that met our requirements: the genre exerts its appeal upon us all, inevitable candidates for such an honour; it often carries a morbid humour; it attracts those who are addicted to walking round graveyards and take pleasure in what has been called 'church-crawling'. And by taking the subject into the past and over more than one century, I shall hope to provide it with the trappings of scholarship. In one sense the epitaph is of minor value except perhaps to antiquarians and historians, for, as Dr Samuel Johnson pointed out, 'the greater part of mankind no character at all .2 What really does interest me is why and how the epitaph became, to such a startling degree, a prominent Renaissance genre define genre as we may; Nashe complained that writers of epitaphs 'swarmed like crows to a dead corpse'. Many critics were happier indulging what a nineteenth-century novelist called 'the flatulence of theoretical opinions' than bringing the genre to the heel of definition. The term itself was loosely used to cover various types of funereal verse; and the epitaph, highly porous, invaded and was invaded by a host of neighbouring genres or subgenres. The yardstick of length turns out to be illusory; though one type, going back to classical times, may conform to the criteria ofbrevitas and argutia, this is unduly restrictive. Other factors come into play: some, for instance, are of popular origin and have found their way into church practice and the semi-literary ploys of monastic orders. The Renaissance for its part will bring its own social and literary pressures. But what are we to make of the following text, much quoted in sixteenth-century and seventeenth-century anthologies, and found in a churchyard at Marle ('apud Minores Tornacenses')? Ci git le Fils, ci git la Mere, Ci git la Fille avec le Pere, Ci git la Soeur, ci git le Frere, Ci git la Femme et le Mary, Et n'y a que trois corps icy.3