Joy & Sorrow, mirror images

States of mourning and (nuptial related) joy are both regulated by halacha in precisely the same temporally delineated gradations as it relates to the intensity of nihugei aveilus and simcha.

It is reflective of how emotions and feelings are initially acute and how they become progressively weaker with the passage of time.

Specifically, they share 5 stages in the progression of their individual laws.

They are as follows:

The day of the death/chasuna; the first 3 days; 7 days; 30 days and finally a year.

(They share the concept of "פנים חדשות" which has to do with the strong feelings of joy/sorrow becoming aroused again due to their [the פנים חדשות] appearance and participation.)

The strong emotions which are generated by these major life events register most poignantly closest to the moment of death/marriage and gradually get more attenuated as time goes on and one gets farther away from the traumatic/ecstatic event. 

This is manifested in halacha with corresponding legislation prescribing the outward expression of joy and sorrow, respectively.

Koheles states (3:4) עֵ֤ת לִבְכּוֹת֙ וְעֵ֣ת לִשְׂח֔וֹק עֵ֥ת סְפ֖וֹד וְעֵ֥ת רְקֽוֹד with Rashi commenting: עת ספוד – בימי אבל 

ועת רקוד – בחתנים וכלות reinforces this parallelism. 

They both have the distinction of being the only two things one disturbs Torah study for מְבַטְּלִין תַּלְמוּד תּוֹרָה לְהוֹצָאַת הַמֵּת וּלְהַכְנָסַת הַכַּלָּה which also indicates their relatedness. 

Interestingly, this sequence of 3, 7 & 30 days is also mentioned by physical trauma as it relates to chillul shabbos for a woman that has given birth.

(I came across the following in the Torah Temimah to Devarim 24:5 ר״ל אחרי דעל כל השנה אמרה תורה ושמח. וכתב הטור באה״ע סי׳ ס״ב דהאידנא ערבה כל שמחה נכונה ולכן אין אומרים שהשמחה במעונו אלא בשבעת ימי המשתה. וכתב בס׳ רה״ז דהא דאבל אסור בשמחה י״ב חודש הוא מפני שהוא היפך השמחה ששיעורו י״ב חודש, והוא ע״ד הכתוב והפכתי חגיכם לאבל וכו׳ וכמו שדרשו מה חג שבעה אף אבלות שבעה, כך מה שמחה י״ב חודש אף העדר השמחה באבל י״ב חודש, ודו״ק. See also תרגום ירושלמי (יונתן) בראשית ד':כ"ב וצלה אף היא ילידת ית תובל קין רב לכל אומן דידע בעיבידת נחשא ופרזלא ואחתיה דתובל קין נעמא היא הות מרת קינין וזמרין. And Zillah bare also Tuvalkain, the chief (rab) of all artificers who know the workmanship of brass and iron. And the sister of Tuvalkain was Naama; she was mistress of elegies and songs. that pegs Naamah as the originator of both song and elegy)

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