Ubi sunt

Ubi sunt (literally "where are...") is a phrase taken from the Latin Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Ubi nunc...? ("Where now?") is a common variant.

Sometimes thought to indicate nostalgia, the ubi sunt motif is actually a meditation on mortality and life's transience.

Ubi sunt is a phrase that begins several Latin medieval poems and occurs, for example, in the second stanza of the song "De Brevitate Vitae" (also known as "Gaudeamus Igitur"). The theme was the common property of medieval Latin poets: Cicero may not have been available, but Boethius' line was known: Ubi nunc fidelis ossa Fabricii manent?

Examples
The medieval French poet François Villon famously echoes the sentiment in the Ballade des dames du temps jadis ("Ballad of the Ladies of Times Past") with his question, Mais où sont les neiges d'antan? ("Where are the snows of yesteryear?"), a refrain taken up in the bitter and ironic Berthold Brecht/Kurt Weill "Nannas Lied", expressing the short-term memory without regrets of a hard-bitten prostitute, in the following refrain: ''Wo sind die Tränen von gestern abend? Wo ist der Schnee vom vergangenen Jahr?

Another famous medieval French writer, Rutebeuf, wrote a poem called Poèmes de l'infortune ("Poems of the misfortune" —or bad luck—) which contains those verses: "Que sont mes amis devenus Que j'avais de si près tenus Et tant aimés ?"

Roughly: "Where are my friends I used to embrace so close and loved so much". In the second half of the 20th century, the singer Léo Ferré made this poem famous by adding a music. The song was called Pauvre Rutebeuf (Poor - or sad - Rutebeuf).

In "Coplas por la muerte de su padre", the Spanish poet Jorge Manrique wrote equally famous stanzas about contemporaries that death had taken away:

¿Qué se fizo el rey don Juan? Los infantes de Aragón ¿qué se fizieron? ¿Qué fue de tanto galán, qué fue de tanta invención como trujeron? Las justas y los torneos, paramentos, bordaduras y cimeras, ¿fueron sino devaneos? ¿qué fueron sino verduras de las eras?

What became of King Don Juan? The Princes of Aragon, What became of all of them? What of so much handsome nobility? And of all the many fads They brought with them? What of their jousts and tournaments, Gilded ornaments, fancy embroideries And feathered tops? Was all of that meaningless waste? Was it all anything else but a summer's green ''on the fields? '' (Translation: Simón Saad)

In medieval Persian poetry, Ubi sunt? is a pervasive theme in The Rubaiyat of Omar Khayyam: Each Morn a thousand Roses brings, you say: Yes, but where leaves the Rose of Yesterday? And this first Summer month that brings the Rose Shall take Jamshyd and Kaikobad away.

Anglo-Saxon
A general feeling of ubi sunt radiates from the text of Beowulf. The Anglo-Saxons, at the point in their cultural evolution in which Beowulf was written, experienced an inescapable feeling of doom, symptomatic of ubi sunt yearning. By conquering the Romanized Britons, they were faced with massive stone works and elaborate Celtic designs that seemed to come from a lost era of glory (called the "work of giants" in The Ruin).

Prominent ubi sunt Anglo-Saxon poems are The Wanderer, Deor, The Ruin, and The Seafarer (all part of a collection known as the Exeter Book, the largest surviving collection of Old English literature). The Wanderer most exemplifies Ubi sunt poetry in its use of erotema (the rhetorical question):

In Anglo-Saxon, this passage - from lines 92-96 of the poem - reads as follows:

Hwær cwom mearg? Hwær cwom mago? Hwær cwom maþþumgyfa? Hwær cwom symbla gesetu? Hwær sindon seledreamas? [...]Hu seo þrag gewat, genap under nihthelm,  swa heo no wære.

One modern English translation of this passage is given below: Where is the horse gone? Where the rider? Where the giver of treasure? Where are the seats at the feast? Where are the revels in the hall? [...]How that time has passed away, grown dark under cover of night,  as if it had never been.

For his fantasy novel The Lord of the Rings, J. R. R. Tolkien wrote a similar poem, composed by his fictional people of Rohan who are partially modelled after the Anglo-Saxons. Part of this goes:

Where now the horse and the rider? Where is the horn that was blowing? Where is the helm and the hauberk, and the bright hair flowing? [...] They have passed like rain on the mountain, like a wind in the meadow; The days have gone down in the West behind the hills into shadow.

Middle English
The 13th century poem "Ubi Sunt Qui Ante Nos Fuerunt" is a Middle English example following the medieval tradition:

Uuere beþ þey biforen vs weren, Houndes ladden and hauekes beren And hadden feld and wode? Þe riche leuedies in hoere bour, Þat wereden gold in hoere tressour Wiþ hoere briȝtte rode; ...

Shakespeare
Ubi sunt poetry also figures in some of Shakespeare's plays. When Hamlet finds skulls in the Graveyard (V. 1), these rhetorical questions appear: Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath bore me on his back a thousand times, and now how abhorr'd in my imagination it is! my gorge rises at it. Here hung those lips that I have kiss'd I know not how oft. Where be your gibes now, your gambols, your songs, your flashes of merriment, that were wont to set the table on a roar? Not one now to mock your own grinning -- quite chap-fall'n. Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favor she must come; make her laugh at that.

18th century
Interest in the ubi sunt motif enjoyed a renaissance during the late 18th century following the publication of James Macpherson's "translation" of Ossian. The eighth of Macpherson's Fragments of Ancient Poetry (1760) features Ossian lamenting, Where is Fingal the King? where is Oscur my son? where are all my race? Alas! in the earth they lie. I feel their tombs with my hands. I hear the river below murmuring hoarsely over the stones. What dost thou, O river, to me? Thou bringest back the memory of the past.

This and Macpherson's subsequent Ossianic texts, Fingal (1761) and Temora (1763), fueled the romantics' interest in melancholy and primitivism.

20th century
Two examples of 20th century popular music which incorporate the ubi sunt motif are the 1960s folk song "Where Have All the Flowers Gone?" by Pete Seeger and Joe Hickerson (adapted from a Don Cossack folk song), and Paula Cole's 1997 hit song "Where Have All the Cowboys Gone." Similarly, the opening couplet of Bonnie Tyler's 1984 hit, "Holding Out for a Hero", could be viewed as an example of the topos - "Where have all the good men gone and where are all the gods?/ Where's the street-wise Hercules to fight the rising odds?" This is, however, a weaker example than the two given above, since the song does not dwell in the transitory nature of the world which typifies the standard Ubi Sunt treatment.

In Joseph Heller's 1961 novel Catch-22, the protagonist Yossarian laments the death of his friend Snowden, saying Ou sont les Neigedens d'antan?

Also, Martin Amis' The War Against Cliché mentions it in a contemplation of movie violence and Medved's polemic against Hollywood. He asks, "It is Ubi sunt? all over again. Where are they now, the great simplicities of yesterday?"