to the Labyrinth, via the 1970 Bertolucci film The Spider's Stratagem (La strategia del ragno) adapting a short story by master of the Labyrinth Jorge Luis Borges, "Theme of the Traitor and Hero" published in English in Labyrinths. This song was also used in the 1994 yoga video Ali MacGraw: Yoga, Mind & Body. "Emmeleia": The title (in Greek ἐμμέλεια, meaning "gracefulness" or "harmonization") was the name of the grave and dignified dance of tragedy in the theatre of ancient Greece (each dramatic genre featured its own chorus dance, being the emmeleia or emmelīa in tragedy, the kordax or cordax in comedy, and the sikinnis or sicinnis in satyr-play). The "lyrics" derive from Lisa Gerrard's usual glossolalia, but because she had to write down a phonetic version for Brendan Perry to sing along with her, this song sounds much more like a structured language. Written transcriptions exist but no language could be recognised.In 1996, Ron Butters (Professor of English and Cultural Anthropology and a member of the Linguistics Faculty) was asked by a student if he could identify the language of "Emmeleia". Butters made a transcription but couldn't go further, then asked about it on the American Dialect Society mailing-list but received no answer. (Link to Butters' 1996 post with transcript at AmericanDialect.org.) Butters' transcription could possibly be the basis for all the current "Emmeleia lyrics" pages, but because the lyrics pages are much more precise, it is possible that the original Gerrard script was published somewhere or provided to fans. "How Fortunate the Man With None": For the lyrics, Perry picked four stanzas from Bertolt Brecht's 1928 poem "Die Ballade von den Prominenten", in the English translation by John Willett (Brecht used a similar version of this poem as "Die Schädlichkeit von Tugenden" in his 1939 play Mother Courage and Her Children, and a slightly different version as "Salomon-Song" in his 1928 Threepenny Opera, act III, number 18). Perry then set them to music for a Temenos Academy production of the play. It was only the second time such permission was granted by the Brecht estate, the previous one being in 1963. Track listing Tracks written by Dead Can Dance (Lisa Gerrard and Brendan Perry), except track 3 (words and music by Dr Robert Dwyer Joyce, traditional, arranged by Dead Can Dance) and track 11 (words by Bertolt Brecht, English translation by John Willett). The 1993 (DAD 3013), 2008