Elegy
Written in a Country Churchyard
Type of Work
"Elegy
Written in a Country Churchyard" is—as the title indicates—an
elegy. Such a poem centers on the death of a person or persons and is,
therefore, somber in tone. An elegy is lyrical rather than narrative—that is,
its primary purpose is to express feelings and insights about its subject
rather than to tell a story. Typically, an elegy expresses
feelings of loss and sorrow while also praising the deceased and commenting on the meaning of the deceased's time on earth. Gray's poem
reflects on the lives of humble and unheralded people buried in the cemetery of a church.
The time
is the mid 1700s, about a decade before the Industrial Revolution began in England. The
place is the cemetery of a church. Evidence indicates that the church is St.
Giles, in the small town of Stoke
Poges, Buckinghamshire, in southern England. Gray
himself is buried in that cemetery. William Penn, the
founder of Pennsylvania,
once maintained a manor house at Stoge Poges.
Gray began
writing the elegy in 1742, put it aside for a while, and finished it in 1750.
Robert Dodsley published the poem in London
in 1751. Revised or altered versions of the poem appeared in 1753, 1758, 1768,
and 1775. Copies of the various versions are on file in the Thomas Gray Archive
at Oxford University.
Meter and Rhyme Scheme
Gray
wrote the poem in four-line stanzas (quatrains). Each line is in iambic
pentameter, meaning the following:
1..Each line has five pairs of syllables for a total of ten
syllables.
2..In each pair, the first syllable is unstressed (or unaccented), and the second is stressed (or accented), as in the two lines that open the poem:
.......The
CUR few TOLLS the KNELL of PART ing DAY 2..In each pair, the first syllable is unstressed (or unaccented), and the second is stressed (or accented), as in the two lines that open the poem:
.......The LOW ing HERD wind SLOW ly O'ER the LEA
.......In each stanza, the first line rhymes with the third and the
second line rhymes with the fourth (abab), as follows:
a.....The curfew tolls the knell of parting day,
b.....The lowing herd wind slowly o'er the lea,
a.....The plowman homeward plods his weary way,
b.....And leaves the world to darkness and to me.
b.....The lowing herd wind slowly o'er the lea,
a.....The plowman homeward plods his weary way,
b.....And leaves the world to darkness and to me.
. Complete Poem With Explanatory Notes
Compiled by Michael J. Cummings © 2003, 2009, 2010
Stanza 1 Compiled by Michael J. Cummings © 2003, 2009, 2010
1. The curfew tolls the knell of parting day,
2. The lowing herd wind slowly o'er the lea,
3. The plowman homeward plods his weary way,
4. And leaves the world to darkness and to me.
Notes
(1) Curfew: ringing bell in the evening that reminded people in English towns of Gray’s time to put out fires and go to bed. (2) Knell: mournful sound. (3) Parting day: day's end; dying day; twilight; dusk. (4) Lowing: mooing. (5) O'er: contraction for over. (6) Lea: meadow.
Stanza 2
6. And all the air a solemn stillness holds,
7. Save where the beetle wheels his droning flight,
8. And drowsy tinklings lull the distant folds.
Notes
(1) Line 5: The landscape becomes less and less visible. (2) Sight . . . solemn stillness . . . save: alliteration. (3) Save: except. (4) Beetle: winged insect that occurs in more than 350,000 varieties. One type is the firefly, or lightning bug. (5) Wheels: verb meaning flies in circles. (6) Droning: humming; buzzing; monotonous sound. (7) Drowsy tinklings lull the distant folds: This clause apparently refers to the gentle sounds made by a bell around the neck of a castrated male sheep that leads other sheep. A castrated male sheep is called a wether. Such a sheep with a bell around its neck is called a bellwether. Folds is a noun referring to flocks of sheep. (8) Tinklings: onomatopoeia.
Stanza 3
10. The moping owl does to the moon complain
11. Of such, as wand'ring near her secret bow'r,
12. Molest her ancient solitary reign.
Notes
(1) Save: except. (2) Yonder: distant; remote. (3) Ivy-mantled: cloaked, dressed, or adorned with ivy. (4) Moping: gloomy; grumbling. (5) Of such: of anything or anybody. (6) Bow'r: bower, an enclosure surrounded by plant growth—in this case, ivy. (7) Molest her ancient solitary reign: bother the owl while it keeps watch over the churchyard and countryside. (8) Her ancient solitary rein: metaphor comparing the owl to a queen.
Stanza 4
14. Where heaves the turf in many a mould'ring heap,
15. Each in his narrow cell for ever laid,
16. The rude forefathers of the hamlet sleep.
Notes
(1) Where heaves the turf: anastrophe, a figure of speech that inverts the normal word order (the turf heaves). (2) Mould'ring: mouldering (British), moldering (American), an adjective meaning decaying, crumbling. (3) Cell: metaphor comparing a grave to a prison cell. (4) Rude: robust; sturdy; hearty; stalwart. (4) Hamlet: village.
Stanza 5
18. The swallow twitt'ring from the straw-built shed,
19. The cock's shrill clarion, or the echoing horn,
20. No more shall rouse them from their lowly bed.
Notes
(1) Breezy call of incense-breathing Morn: wind carrying the pleasant smells of morning, including dewy grass and flowers. Notice that Morn is a metaphor comparing it to a living creature. (It calls and breathes.) (2) Swallow: Insect-eating songbird that likes to perch. (3) Clarion: cock-a-doodle-doo. (4) Echoing horn: The words may refer to the sound made by a fox huntsman who blows a copper horn to which pack hounds respond.
Stanza 6
22. Or busy housewife ply her evening care:
23. No children run to lisp their sire's return,
24. Or climb his knees the envied kiss to share.
Notes
(1) hearth . . . housewife . . . her: alliteration. (2) Climb his knees the envied kiss to share: anastrophe, a figure of speech that inverts the normal word order (to share the envied kiss).
Stanza 7
26. Their furrow oft the stubborn glebe has broke;
27. How jocund did they drive their team afield!
28. How bow'd the woods beneath their sturdy stroke!
Notes
(1) Sickle: Harvesting tool with a handle and a crescent-shaped blade. Field hands swing it from right to left to cut down plant growth. (2) Furrow: channel or groove made by a plow for planting seeds. (3) Glebe: earth. (4) Jocund: To maintain the meter, Gray uses an adjective when the syntax call for an adverb, jocundly. Jocund (pronounced JAHK und) means cheerful.
Stanza 8
30. Their homely joys, and destiny obscure;
31. Nor Grandeur hear with a disdainful smile
32. The short and simple annals of the poor.
Notes
(1) Ambition: Personification referring to the desire to succeed or to ambitious people seeking lofty goals. (2) Destiny obscure: the humble fate of the common people; their unheralded deeds. (3) Lines 29-30: anastrophe, a figure of speech that inverts the normal word order (let not Ambition obscure their destiny and homely joys).
(4) Grandeur: personification referring to people with wealth, social standing, and power. (5) Annals: historical records; story.
Stanza 9
33. The boast of heraldry, the pomp of pow'r, 34. And all that beauty, all that wealth e'er gave,
35. Awaits alike th' inevitable hour.
36. The paths of glory lead but to the grave.
Notes
(1) Boast of heraldry: Proud talk about the aristocratic or noble roots of one's family; snobbery. Heraldry was a science that traced family lines of royal and noble personages and designed coats of arms for them. (2) Pomp: ceremonies, rituals, and splendid surroundings of nobles and royals. (3) Pomp of pow'r: alliteration. (4) E'er: ever. General meaning of stanza: Every person—no matter how important, powerful, or wealthy—ends up the same, dead.
Stanza 10
38. If Mem'ry o'er their tomb no trophies raise,
39. Where thro' the long-drawn aisle and fretted vault
40. The pealing anthem swells the note of praise.
Notes
(1) Impute: Assign, ascribe. (2) Mem'ry: Memory, a personification referring to memorials, commemorations, and tributes—including statues, headstones, and epitaphs—used to preserve the memory of important or privileged people. (3) Where thro' . . . the note of praise: Reference to the interior of a church housing the tombs of important people. Fretted vault refers to a carved or ornamented arched roof or ceiling. (4) Pealing anthem may refer to lofty organ music.
Stanza 11
42. Back to its mansion call the fleeting breath?
43. Can Honour's voice provoke the silent dust,
44. Or Flatt'ry soothe the dull cold ear of Death?
Notes
(1) Storied urn: Vase adorned with pictures telling a story. Urns have sometimes been used to hold the ashes of a cremated body. (2) Bust: sculpture of the head, shoulders, and chest of a human. (3) Storied urn . . . breath? Can the soul (fleeting breath) be called back to the body (mansion) by the urn or bust back? Notice that urn and bust are personifications that call. (4) Can Honour's . . . Death? Can honor (Honour's voice) attributed to the dead person cause that person (silent dust) to come back to life? Can flattering words (Flatt'ry) about the dead person make death more "bearable"? (5) General meaning of stanza: Lines 41-45 continue the idea begun in Lines 37-40. In other words, can any memorials—such as the trophies mentioned in Line 38, the urn and bust mentioned in Line 41, and personifications (honor and flattery) mentioned in Lines 43 and 44—bring a person back to life or make death less final or fearsome?
Stanza 12
46. Some heart once pregnant with celestial fire;
47. Hands, that the rod of empire might have sway'd,
48. Or wak'd to ecstasy the living lyre.
Notes
(1) Pregnant with celestial fire: Full of great ideas, abilities, or goals (celestial fire). (2) Rod of empire: scepter held by a king or an emperor during ceremonies. One of the humble country folk in the cemetery might have become a king or an emperor if he had been given the opportunity. (3) Wak'd . . .lyre: Played beautiful music on a lyre, a stringed instrument. In other words, one of the people in the cemetery could have become a great musician if given the opportunity, "waking up" the notes of the lyre.
Stanza 13
50. Rich with the spoils of time did ne'er unroll;
51. Chill Penury repress'd their noble rage,
52. And froze the genial current of the soul.
Notes
(1) Knowledge . . . unroll: Knowledge did not reveal itself to them (their eyes) in books (ample page) rich with treasures of information (spoils of time). (2) Knowledge . . . unroll: Personification and anastrophe a figure of speech that inverts the normal word order (knowledge did ne'er enroll). (3) Chill . . . soul: Poverty (penury) repressed their enthusiasm (rage) and froze the flow (current) of ideas (soul).
Stanza 14
53. Full many a gem of purest ray serene,
54. The dark unfathom'd caves of ocean bear:
55. Full many a flow'r is born to blush unseen,
56. And waste its sweetness on the desert air.
Note
Full . . . air: These may be the most famous lines in the poem. Gray is comparing the humble village people to undiscovered gems in caves at the bottom of the ocean and to undiscovered flowers in the desert.
Stanza 15
58. The little tyrant of his fields withstood;
59. Some mute inglorious Milton here may rest,
60. Some Cromwell, guiltless of his country's blood.
Notes
(1) John Hampden (1594-1643). Hampden, a Puritan member of Parliament, frequently criticized and opposed the policies of King Charles I. In particular, he opposed a tax imposed by the king to outfit the British navy. Because he believed that only Parliament could impose taxes, he refused to pay 20 shillings in ship money in 1635. Many joined him in his opposition. War broke out between those who supported Parliament and those who supported the king. Hampden was killed in battle in 1643. Gray here is presenting Hampden as a courageous (dauntless) hero who stood against the king (little tyrant). (2) Milton: John Milton (1608-1674), the great English poet and scholar.
Stanza 16
62. The threats of pain and ruin to despise,
63. To scatter plenty o'er a smiling land,
64. And read their hist'ry in a nation's eyes,
Notes
The subject and verb of Lines 61-64 are in the first three words of Line 65, their lot forbade. Thus, this stanza says the villagers' way of life (lot) prohibited or prevented them from receiving applause from politicians for good deeds such as alleviating pain and suffering and providing plenty (perhaps food) across the land. These deeds would have been recorded by the appreciating nation.
Stanza 17
66. Their growing virtues, but their crimes confin'd;
67. Forbade to wade through slaughter to a throne,
68. And shut the gates of mercy on mankind,
Note
General meaning: Their lot in life not only prevented (circumbscrib'd) them from doing good deeds (like those mentioned in Stanza 16) but also prevented (confin'd) bad deeds such as killing enemies to gain the throne and refusing to show mercy to people.
Stanza 18
70. To quench the blushes of ingenuous shame,
71. Or heap the shrine of Luxury and Pride
72. With incense kindled at the Muse's flame.
Notes
(1) General meaning: This stanza continues the idea begun in the previous stanza, saying that the villagers' lot in life also prevented them from hiding truth and shame and from bragging or using pretty or flattering words (incense kindled at the Muse's flame) to gain luxuries and feed their pride. (2) Muse's flame: an allusion to sister goddesses in Greek and Roman mythology who inspired writers, musicians, historians, dancers, and astronomers. These goddesses were called Muses.
Stanza 19
74. Their sober wishes never learn'd to stray;
75. Along the cool sequester'd vale of life
76. They kept the noiseless tenor of their way.
Note
(1) General meaning: The villagers plodded on faithfully, never straying from their lot in life as common people. (2) Madding: maddening; furious; frenzied. (3) Noiseless tenor of their way: quiet way of life.
Stanza 20
78. Some frail memorial still erected nigh,
79. With uncouth rhymes and shapeless sculpture deck'd,
80. Implores the passing tribute of a sigh.
Note
General meaning: But even these people have gravestones (frail memorial), although they are engraved with simple and uneducated words or decked with humble sculpture. These gravestones elicit a sigh from people who see them.
Stanza 21
82. The place of fame and elegy supply:
83. And many a holy text around she strews,
84. That teach the rustic moralist to die.
Notes
(1)Their . . . supply: Their name and age appear but there are no lofty tributes. (2) Unletter'd muse: Uneducated writer or engraver. (2) Holy text: probably Bible quotations. (3) She: muse. See the second note for Stanza 18. (4) Rustic moralist: pious villager.
Stanza 22
86. This pleasing anxious being e'er resign'd,
87. Left the warm precincts of the cheerful day,
88. Nor cast one longing, ling'ring look behind?
Note
General meaning: These humble people, though they were doomed to be forgotten (to dumb Forgetfulness a prey), did not die (did not leave the warm precincts of cheerful day) without looking back with regret and perhaps a desire to linger a little longer .
Stanza 23
90. Some pious drops the closing eye requires;
91. Ev'n from the tomb the voice of Nature cries,
92. Ev'n in our ashes live their wonted fires.
Note
General meaning: The dying person (parting soul) relies on a friend (fond breast) to supply the engraved words (pious drops) on a tombstone. Even from the tomb the spirit of a person cries out for remembrance.
Stanza 24
94. Dost in these lines their artless tale relate;
95. If chance, by lonely contemplation led,
96. Some kindred spirit shall inquire thy fate [33],
Notes
(1) For thee . . . relate: Gray appears to be referring to himself. Mindful that the villagers deserve some sort of memorial, he is telling their story (their artless tale) in this elegy (these lines). (2) Lines 95-96: But what about Gray himself? What if someone asks about his fate? Gray provides the answer in the next stanza.
Stanza 25
98. "Oft have we seen him at the peep of dawn
99. Brushing with hasty steps the dews away
100. To meet the sun upon the upland lawn.
Notes
(1) Haply: Perhaps; by chance; by accident. (2) Hoary-headed swain: Gray-haired country fellow; old man who lives in the region.
Stanza 26
102. That wreathes its old fantastic roots so high,
103. His listless length at noontide would he stretch,
104. And pore upon the brook that babbles by.
Notes
(1) Nodding: bending; bowing. (2) Listless length: his tired body. (3) Pore upon: Look at; watch.
Stanza 27
106. Mutt'ring his wayward fancies he would rove,
107. Now drooping, woeful wan, like one forlorn,
108. Or craz'd with care, or cross'd in hopeless love.
Notes
(1) Wood, now smiling as in scorn: personification comparing the forest to a person. (2) Wayward fancies: unpredictable, unexpected, or unwanted thoughts; capricious or flighty thoughts. (3) Rove: wander. (4) Craz'd . . . cross'd: alliteration.
Stanza 28
110. Along the heath and near his fav'rite tree;
111. Another came; nor yet beside the rill,
112. Nor up the lawn, nor at the wood was he;
Notes
(1) Another came: another morning came. (2) Nor yet: But he still was not. (3) Rill: small stream or brook.
Stanza 29
114. Slow thro' the church-way path we saw him borne.
115. Approach and read (for thou canst read) the lay,
116. Grav'd on the stone beneath yon aged thorn."
Notes
(1) The next: the next morning. (2) Dirges: funeral songs. (3) Lay: short poem—in this case, the epitaph below.
THE EPITAPH
118. A youth to Fortune and to Fame unknown.
119. Fair Science frown'd not on his humble birth,
120. And Melancholy mark'd him for her own.
121. Large was his bounty, and his soul sincere,
122. Heav'n did a recompense as largely send:
123. He gave to Mis'ry all he had, a tear,
124. He gain'd from Heav'n ('twas all he wish'd) a friend.
125. No farther seek his merits to disclose,
126. Or draw his frailties from their dread abode,
127. (There they alike in trembling hope repose)
128. The bosom of his Father and his God.
Note
General meaning: Here lies a man of humble birth who did not know fortune or fame but who did become a scholar. Although he was depressed at times, he had a good life, was sensitive to the needs of others, and followed God's laws. Don't try to find out more about his good points or bad points, which are now with him in heaven.
..
Summary
The speaker is hanging
out in a churchyard just after the sun goes down. It's dark and a bit spooky.
He looks at the dimly lit gravestones, but none of the grave
markers are all that impressive—most of the people buried here are poor folks
from the village, so their tombstones are just simple,
roughly carved stones.
The speaker starts to
imagine the kinds of lives these dead guys probably led. Then he shakes his
finger at the reader, and tells us not to get all snobby about the rough
monuments these dead guys have on their tombs, since, really, it doesn't matter
what kind of a tomb you have when you're dead, anyway. And guys, the speaker
reminds us, we're all going to die someday.
But that gets the speaker
thinking about his own inevitable death, and he gets a little freaked out. He
imagines that someday in the future, some random guy (a "kindred spirit") might pass through this
same graveyard, just as he was doing today. And that guy might see the
speaker's tombstone, and ask a local villager
about it. And then he imagines what the villager might say about him. At the
end, he imagines that the villager points out the epitaph engraved on the
tombstone, and invites the passerby to read it for himself. So basically,
Thomas Gray writes his own epitaph at the end of this poem
Themes
Death: the Great Equalizer .......Even the proud and the mighty must one day lie beneath the earth, like the humble men and women now buried in the churchyard, as line 36 notes: The paths of glory lead but to the grave. Lines 41-44 further point out that no grandiose memorials and no flattering words about the deceased can bring him or her back from death.
Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flatt'ry soothe the dull cold ear of Death?
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flatt'ry soothe the dull cold ear of Death?
Missed Opportunities
.......Because
of poverty or other handicaps, many talented people never receive the
opportunities they deserve. The following lines elucidate this theme through
metaphors:
Full many a gem of purest ray serene,
The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air.
The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air.
Here, the gem at the bottom of the ocean may represent an
undiscovered musician, poet, scientist or philosopher. The flower may likewise
stand for a person of great and noble qualities that are "wasted on the
desert air." Of course, on another level, the gem and the flower can stand
for anything in life that goes unappreciated.
Virtue
.......In their rural setting, far from the temptations of the cities and the courts of kings, the villagers led virtuous lives, as lines 73-76 point out:
Far from the madding crowd's ignoble strife,
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.
Line 6: And all the air a solemn stillness holds (all the air holds a solemn stillness)
Line 14: Where heaves the turf in many a mould'ring heap (Where the turf heaves)
Line 24: Or climb his knees the envied kiss to share. (Or climb his knees to share the envied kiss)
Line 79: With uncouth rhymes and shapeless sculpture deck'd (deck'd with uncouth rhymes and shapeless sculpture)
Syncope
Omitting letters or sounds within a word.
Gray also frequently uses a commonplace poetic device known as syncope, the omission of letters or sounds within a word.
The lowing herd wind slowly o'er the lea (line 2)
Now fades the glimm'ring landscape on the sight (line 5)
Save that from yonder ivy-mantled tow'r (line 9)
The swallow twitt'ring from the straw-built shed (line 18)
Figures of Speech
.......Following are examples of figures of speech in the poem.
Alliteration
Repetition of a Consonant Sound
The plowman homeward plods his weary
way (line 3)
.
The cock's shrill clarion, or the echoing horn (line 19)
.
Nor cast one longing, ling'ring look behind? (line 88)
.
Now drooping, woeful wan, like one forlorn (line 107)
.
Or craz'd with care, or cross'd in hopeless love. (line 108)
.
The cock's shrill clarion, or the echoing horn (line 19)
.
Nor cast one longing, ling'ring look behind? (line 88)
.
Now drooping, woeful wan, like one forlorn (line 107)
.
Or craz'd with care, or cross'd in hopeless love. (line 108)
Anaphora
Repetition of a word, phrase, or clause at the beginning of word groups occurring one after the other
Repetition of a word, phrase, or clause at the beginning of word groups occurring one after the other
And all that beauty, all that wealth e'er gave
(line 34)
Their name, their years, spelt by th' unletter'd muse (line
81) Ev'n from the tomb the voice of Nature cries,
Ev'n in our ashes live their wonted fires. (lines 91-92)
Metaphor
Comparison between unlike things without using like, as, or than
Comparison between unlike things without using like, as, or than
Full many a gem of purest ray serene,
The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air. (lines 53-56)
Comparison of the dead village people to gems and flowers
Or
heap the shrine of Luxury and Pride The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air. (lines 53-56)
Comparison of the dead village people to gems and flowers
With incense kindled at the Muse's flame. (lines 71-72)
Comparison of flattering words to incense
Metonymy
Use of a word or phrase to suggest a related word or phrase
Use of a word or phrase to suggest a related word or phrase
To scatter plenty o'er a smiling land
Land stands for people.
Land stands for people.
Personification
A form of metaphor that compares a thing to a person
A form of metaphor that compares a thing to a person
Let not Ambition mock their useful toil
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the poor. (lines 29-32)
Ambition and Grandeur take on human characteristics.
But
Knowledge to their eyes her ample page Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the poor. (lines 29-32)
Ambition and Grandeur take on human characteristics.
Rich with the spoils of time did ne'er unroll (line 49-50)
Notice that Knowledge becomes a person, a female.
Fair Science frown'd not on his humble birth,
And Melancholy mark'd him for her own. (lines 119-120)
Science and Melancholy become persons.
Assessment of the Poem
.......Scholars regard "Elegy Written in a
Country Churchyard" as one of the greatest poems in the English language.
It weaves structure, rhyme scheme, imagery and message into a brilliant
tapestry that confers on Gray everlasting fame. The quality of its poetry and
insights reach Shakespearean and Miltonian heights. 
very well written
ReplyDelete