12-13: ‘The songs you sang ... tears.’ The contrast between the memory of the deceased and the desolation of those left behind is, as Alexiou writes: "found in some form in nearly all kinds of lament throughout antiquity including the epigrams and the funerary inscriptions [...] In the ancient lament the commonest formula for this convention was to contrast one clause, introduced by 'before' or 'then,' with a second clause introduced by 'now.' " Alexiou cites numerous references from Homer, Euripides and Sophocles: Homer Iliad XVIII 333-5; XIX 287-90, 315-20, XXII 434-6, 477-483, 500-8, XXIV 749, 757. Sophocles, Ajax 1000-1; Electra 1126-30, 1145-50; Antigone 901-3. Euripides, Suppliants 790-3, 918-24, 963-7; Iphigenia in Taurus 203-8, 229-31, 344-8; Alcestis 915-925. A speech by Hecuba in the Iliad leading the Trojan women in a universal lament for Hector, illustrates this formula: "Child, o my misery! Why should I live now, when I have suffered the agony of your death? Day and night you were then my pride in the city, and the benefactor of all the men and women throughout Troy, who welcomed you like a god, since you were their great glory too, when you were alive but now death and fate have overtaken you" (XXII 434-436). Likewise, Kochanowski introduces his current state with the time expression "now," translated in this instance as "no longer."