The article explores cross-modal iconic relations in nine diverse Western-music songs ranging from 1600 to 2015, all of them thematizing dysphoric weeping. Initial input comes from five recurrent features observed in ancient Greek texts associated with performative events, including the prominence of sound, interjections and strong self-referentiality, repetitions and refrains, the motif of endlessness, and tears associated with streams of water, dew, and libation liquids. The analysis adopts Peirce’s conceptual distinction between image, diagram, and metaphor iconicity, although the continuum reading proposed by several scholars is ultimately favored. The sample turns out to offer plenty of evidence of iconic relations. Interjections, falsetto, verbal repetitions, musical repetitions, musical rendering of sighs and endlessness, ostinato patterns, downward notes, and water images (rain and rivers), all of this is shown to substantiate cross-modal iconicity encompassing weeping, lyrics, music (including musical notation), and images, in different combinations. Quantitative investigations confirming/disconfirming and adding iconicity patterns, and comparative analyses linking Western and non-Western lament traditions constitute desiderata for future work.

中文翻译：

---

有关哭泣的歌曲中的跨模态象征性

本文探讨了从 1600 年到 2015 年的九首不同西方音乐歌曲中的跨模态标志关系，所有这些歌曲都以烦躁的哭泣为主题。最初的输入来自于古希腊文本中与表演事件相关的五个反复出现的特征，包括声音的突出、感叹词和强烈的自我指涉、重复和叠句、无尽的主题以及与水流、露水和水流相关的眼泪。奠酒液体。该分析采用了皮尔斯对图像、图表和隐喻象似性的概念区分，尽管几位学者提出的连续统阅读最终受到青睐。事实证明，该样本提供了大量标志性关系的证据。感叹词、假声、言语重复、音乐重复、叹息和无尽的音乐渲染、固定音模式、向下的音符和水图像（雨和河流），所有这些都被证明是为了证实包括哭泣、歌词、音乐在内的跨模态象性（包括乐谱）和图像，以不同的组合。确认/否定和添加象似性模式的定量研究，以及联系西方和非西方哀悼传统的比较分析构成了未来工作的必要条件。