Elegy Written in a Country Churchyard by Thomas Gray | Explanation | Summary | Word Meaning | Key Points | Thomas Gray | Questions Answers | Free PDF Download – Easy Literary Lessons
Elegy Written in a Country Churchyard
The curfew tolls the knell of parting day,
The lowing herd wind slowly o’er the lea,
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.
Now fades the glimm’ring landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;
Save that from yonder ivy-mantled tow’r
The moping owl does to the moon complain
Of such, as wand’ring near her secret bow’r,
Molest her ancient solitary reign.
Beneath those rugged elms, that yew-tree’s shade,
Where heaves the turf in many a mould’ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.
The breezy call of incense-breathing Morn,
The swallow twitt’ring from the straw-built shed,
The cock’s shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire’s return,
Or climb his knees the envied kiss to share.
Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow’d the woods beneath their sturdy stroke!
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.
The boast of heraldry, the pomp of pow’r,
And all that beauty, all that wealth e’er gave,
Awaits alike th’ inevitable hour.
The paths of glory lead but to the grave.
Nor you, ye proud, impute to these the fault,
If Mem’ry o’er their tomb no trophies raise,
Where thro’ the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.
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?
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway’d,
Or wak’d to ecstasy the living lyre.
But Knowledge to their eyes her ample page
Rich with the spoils of time did ne’er unroll;
Chill Penury repress’d their noble rage,
And froze the genial current of the soul.
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.
Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood;
Some mute inglorious Milton here may rest,
Some Cromwell guiltless of his country’s blood.
Th’ applause of list’ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o’er a smiling land,
And read their hist’ry in a nation’s eyes,
Their lot forbade: nor circumscrib’d alone
Their growing virtues, but their crimes confin’d;
Forbade to wade through slaughter to a throne,
And shut the gates of mercy on mankind,
The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse’s flame.
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.
Yet ev’n these bones from insult to protect,
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck’d,
Implores the passing tribute of a sigh.
Their name, their years, spelt by th’ unletter’d muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.
For who to dumb Forgetfulness a prey,
This pleasing anxious being e’er resign’d,
Left the warm precincts of the cheerful day,
Nor cast one longing, ling’ring look behind?
On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
Ev’n from the tomb the voice of Nature cries,
Ev’n in our ashes live their wonted fires.
For thee, who mindful of th’ unhonour’d Dead
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate,
Haply some hoary-headed swain may say,
“Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away
To meet the sun upon the upland lawn.
“There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.
“Hard by yon wood, now smiling as in scorn,
Mutt’ring his wayward fancies he would rove,
Now drooping, woeful wan, like one forlorn,
Or craz’d with care, or cross’d in hopeless love.
“One morn I miss’d him on the custom’d hill,
Along the heath and near his fav’rite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;
“The next with dirges due in sad array
Slow thro’ the church-way path we saw him borne.
Approach and read (for thou canst read) the lay,
Grav’d on the stone beneath yon aged thorn.”
THE EPITAPH
Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frown’d not on his humble birth,
And Melancholy mark’d him for her own.
Large was his bounty, and his soul sincere,
Heav’n did a recompense as largely send:
He gave to Mis’ry all he had, a tear,
He gain’d from Heav’n (’twas all he wish’d) a friend.
No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose)
The bosom of his Father and his God.
line-by-line explanation of the poem
1. The curfew tolls the knell of parting day,
The lowing herd wind slowly o’er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.
Explanation
It capture the melancholic atmosphere of dusk settling over the countryside. The tolling of the evening curfew bell signals the end of the day, and as the herd of cattle slowly makes its way across the meadow, the ploughman trudges wearily home from his labor. The speaker, left alone in the gathering darkness, reflects on the quiet solitude of the evening and the sense of isolation it brings. The imagery evokes a mood of tranquility tinged with sadness, setting the tone for the contemplative reflections on life and death that follow in the poem.
Poetic devices:
Personification: The phrase curfew tolls the knell of parting day is an example of personification. Here, the curfew bell is given the human action of tolling the knell (a bell rung at a funeral) for the end of the day. This sets a somber tone for the poem, indicating the end of life and the onset of darkness, which could symbolize death.
2. Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;
Explanation
These lines continue the vivid imagery of “Elegy Written in a Country Churchyard” by Thomas Gray. The fading landscape represents the transition from day to night, life to death. The solemn stillness of the air signifies the quiet and peace that comes with this transition. The only sounds are the droning flight of the beetle and the distant, sleepy tinkling sounds, perhaps of sheep bells, which further emphasize the tranquility of the scene. The poet beautifully captures the serene and somber mood of a countryside at dusk.
Poetic Device:
Personification: The phrase all the air a solemn stillness holds is another example of personification. The air is described as holding a solemn stillness, giving it human-like qualities. This enhances the quiet and peaceful atmosphere of the scene, further emphasizing the solemnity and gravity of the subject matter – death and mourning.
3. Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such, as wandering near her secret bower,
Molest her ancient solitary reign.
Explanation
These lines further add to the atmosphere of tranquility and solitude in Thomas Gray’s “Elegy Written in a Country Churchyard”. The “ivy-mantled tow’r” is a symbol of the past, covered in ivy, suggesting it has been there for a long time. The “moping owl” is a traditional symbol of wisdom and is often associated with the night. Its complaint to the moon could be interpreted as a lament for the past or a commentary on the solitude of the scene. The owl’s “ancient solitary reign” is disturbed by those who wander near her secret bower, perhaps representing the intrusion of the modern world into this peaceful, timeless scene. The poet uses these images to create a sense of melancholy and reflection.
Poetic Device:
Metaphor: The moping owl is a metaphor for loneliness and isolation. The owl, a creature that is active at night and often alone, is used to symbolize the speaker’s own feelings of solitude. This metaphor effectively conveys the speaker’s sense of loneliness and isolation in the face of death.
4. Beneath those rugged elms, that yew-tree’s shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.
Explanation
These lines from “Elegy Written in a Country Churchyard” by Thomas Gray depict the final resting place of the “rude forefathers of the hamlet”. The “rugged elms” and “yew-tree’s shade” provide a natural monument to these humble villagers. The “mould’ring heap” of turf that “heaves” is a poignant image of the graves, each person in his “narrow cell” – a metaphor for the grave. The phrase “for ever laid” underscores the permanence of death. The term “rude” here refers to their simple, unsophisticated lives, not to any lack of manners or refinement. This is a reflection on mortality and the inevitable end that awaits all, regardless of their status in life. It’s a powerful reminder of our shared humanity and the transient nature of life.
Poetic Device:
Metonymy: The phrase rude forefathers of the hamlet sleep is a metonymy, where ‘sleep’ is used to refer to death. This is a common poetic device used to talk about death in a less direct way. It helps to soften the harsh reality of death, making it more palatable to the reader.
5. The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock’s shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
Explanation
These lines continue the theme of mortality in Thomas Gray’s “Elegy Written in a Country Churchyard”. The “breezy call of incense-breathing Morn”, the “swallow twitt’ring from the straw-built shed”, the “cock’s shrill clarion”, and the “echoing horn” are all sounds of life and the start of a new day. However, for those who lie in their “lowly bed” beneath the earth, these sounds of life “no more shall rouse them”. This is a poignant reminder of the finality of death, where even the vibrant signs of a new day have no power. The poet uses these contrasts to emphasize the solemnity of the graveyard and the permanence of death.
Poetic Device:
Onomatopoeia: The cock’s shrill clarion is an example of onomatopoeia. The word ‘shrill’ imitates the high-pitched sound of a rooster’s crow, bringing the scene to life in the reader’s mind. This use of onomatopoeia helps to create a vivid and realistic image of the rural setting.
6. For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire’s return,
Or climb his knees the envied kiss to share.
Explanation
These lines depict the cessation of everyday life for those who have passed away. The “blazing hearth” that no longer burns for them symbolizes the warmth and vitality of life that they can no longer partake in. The “busy housewife” represents the daily chores and activities that continue in their absence. The image of children running to “lisp their sire’s return” and climbing his knees to share a kiss is a poignant reminder of the familial love and joy that the deceased will no longer experience. These lines evoke a sense of loss and melancholy, emphasizing the finality of death and the continuation of life for the living.
Poetic Device:
Metaphor: The phrase no children run to lisp their sire’s return is an example of Metaphor, where children’s lisping represents the the joy and warmth of family life. This device effectively conveys the loss and emptiness felt by the family after the death of a loved one.
7. Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bowed the woods beneath their sturdy stroke!
Explanation
These lines reflect on the labor and toil of the “rude forefathers of the hamlet”. The “harvest to their sickle yield” and the “stubborn glebe” that their furrow broke are images of their hard work in the fields. The phrase “How jocund did they drive their team afield!” suggests their joy and satisfaction in their work. The “woods bow’d beneath their sturdy stroke” is a powerful image of their strength and impact on the landscape. These lines celebrate the dignity and value of manual labor, and the satisfaction derived from it. The poet seems to suggest that although these people were simple country folk, their lives had meaning and value.
Poetic Device:
Exclamation: The phrase How jocund did they drive their team afield! is an example of exclamation. The poet uses this to express his admiration for the hard work of the common people. This exclamation serves to highlight the joy and satisfaction derived from honest labor.
8. 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.
Explanation
These lines are a plea for respect for the humble country folk. The poet asks that “Ambition” should not mock their “useful toil”, their hard work in the fields. Their “homely joys” and “destiny obscure” refer to their simple pleasures and unknown futures. “Grandeur” is asked not to listen with a “disdainful smile” to the “short and simple annals of the poor”, meaning the uneventful, modest lives of the poor. These lines emphasize the dignity of labor and the worth of every individual, regardless of their social status. The poet is reminding us that every life has its own value and deserves respect.
Poetic Device:
Personification: The line Let not Ambition mock their useful toil is an example of Personification. The poet addresses Ambition, an abstract concept, as if it were a person capable of mocking the toil of the common people. This device serves to criticize the societal values that prioritize ambition and success over simple, honest labor.
9. The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e’er gave,
Awaits alike the inevitable hour.
The paths of glory lead but to the grave.
Explanation
These lines are a profound commentary on the inevitability of death. The “boast of heraldry” and the “pomp of pow’r” refer to the symbols and displays of power and status. “All that beauty, all that wealth e’er gave” speaks to the material and superficial aspects of life. Despite these, everyone “awaits alike th’ inevitable hour”. This means that regardless of one’s status, wealth, or beauty, death is the great equalizer. The final line, “The paths of glory lead but to the grave”, is a powerful statement on the transient nature of glory and the ultimate destination of all life. It’s a reminder that no matter how much we achieve or accumulate in life, our mortal end remains the same.
Poetic Device:
Antithesis: The phrase The paths of glory lead but to the grave is an example of antithesis. The poet contrasts the ideas of glory and the grave to emphasize the inevitability of death, regardless of one’s achievements in life. This stark contrast serves as a reminder of the transient nature of earthly glory.
10. Nor you, ye proud, impute to these the fault,
If memory o’er their tomb no trophies raise,
Where through the long-drawn isle and fretted vault
The pealing anthem swells the note of praise.
Explanation
These lines are addressed to the “proud”, or those of higher social status. The poet cautions them not to blame the humble villagers (“these”) if there are no trophies (symbols of achievements or status) raised over their tombs in memory of them. The “long-drawn aisle and fretted vault” refer to the grandeur of a church or cathedral, places often associated with the burials of the rich and powerful. The “pealing anthem” that “swells the note of praise” suggests the elaborate funeral rites of the wealthy. Despite the lack of such honors, the poet implies that the humble villagers are no less deserving of respect and remembrance. This continues the poem’s theme of the universal human experience of life and death, regardless of social status.
Poetic Device:
Metaphor: The phrase If Mem’ry o’er their tomb no trophies raise is an example of metaphor. The ‘trophies’ represent the recognition and honor that the poor might not receive after death. This metaphor serves to criticize the societal values that prioritize wealth and status over character and virtue.
11. Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour’s voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?
Explanation
These lines question the value of worldly honors and flattery in the face of death. The “storied urn” and “animated bust” are symbols of memorialization, often used to honor the rich and powerful after their death. However, the poet asks if these can “call the fleeting breath” back to its mansion, or body, implying the inability of such symbols to reverse or halt the process of death.
The “Honour’s voice” and “Flatt’ry” represent the praises and accolades that people often receive in their lifetime or posthumously. Yet, the poet questions if these can “provoke the silent dust”, or stir the deceased, and if flattery can “soothe the dull cold ear of Death”. These rhetorical questions underscore the insignificance of worldly honors and flattery in the face of the inevitable reality of death, reinforcing the poem’s theme of the universality of human mortality.
Poetic Device:
Rhetorical question: The question Can Honour’s voice provoke the silent dust is a rhetorical question. The poet uses this to make the reader ponder on the insignificance of earthly honors after death. This rhetorical question serves to challenge the reader’s perceptions of honor and glory, prompting them to consider the true value of these concepts in the face of death.
12. Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire,
Hands, that the rod of empire might have swayed,
Or waked to ecstasy the living lyre.
Explanation
These lines suggest that among those buried in the churchyard could be individuals who had the potential for greatness. The “heart once pregnant with celestial fire” could refer to a person filled with extraordinary passion or genius. The “hands, that the rod of empire might have sway’d” suggest someone who could have been a great leader. The phrase “wak’d to ecstasy the living lyre” refers to a potential poet or musician who could have stirred emotions through their art.
These lines express a sense of regret for the unrealized potential of those who lived and died in obscurity. They underscore the poem’s theme of the universality of human experience, regardless of one’s social status or opportunities. It’s a reminder that potential for greatness exists in every individual, regardless of their circumstances.
Poetic Device:
Metaphor: The phrase Some heart once pregnant with celestial fire is a metaphor. The ‘heart’ represents potential greatness or talent, and ‘celestial fire’ symbolizes divine inspiration or genius. This metaphor laments the loss of potential greatness that might have been achieved if not for the constraints of poverty and social class.
13. But Knowledge to their eyes her ample page
Rich with the spoils of time did ne’er unroll;
Chill Penury repressed their noble rage,
And froze the genial current of the soul.
Explanation
These lines express the limitations that poverty and lack of access to education (“Knowledge”) can place on individuals. The “ample page” of knowledge, “rich with the spoils of time”, was never unrolled to their eyes, meaning they were not given the opportunity to learn and benefit from the wisdom of the ages.
“Chill Penury” refers to severe poverty, which “repress’d their noble rage”, or stifled their potential. The “genial current of the soul” could refer to the natural warmth, generosity, and potential of the human spirit, which is “frozen” or inhibited by these circumstances.
These lines highlight the tragic waste of potential caused by societal inequalities and lack of opportunities, a theme that resonates with the overall contemplative and somber mood of the poem.
Poetic Device:
Personification: The line Chill Penury repress’d their noble rage is an example of personification. ‘Chill Penury’ (cold poverty) is personified as a force that suppresses ‘their noble rage’ (the villagers’ potential for greatness). This personification emphasizes the destructive impact of poverty on human potential.
14. Full many a gem of purest ray serene,
The dark unfathomed caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.
Explanation
These lines use beautiful metaphors to continue the theme of unrealized potential. The “gem of purest ray serene” that the “dark unfathom’d caves of ocean bear” symbolizes a person of great worth or talent who remains hidden from the world, much like a precious gem at the bottom of the ocean. Similarly, the flower that is “born to blush unseen” and “waste its sweetness on the desert air” represents a person whose talents and virtues go unnoticed and unappreciated.
These metaphors underscore the tragedy of potential that is never recognized or realized due to circumstances, often beyond the individual’s control. They serve as a poignant reminder of the inherent worth and potential in every individual, regardless of their social status or the recognition they receive.
Poetic Device:
Metaphor: The phrase Full many a gem of purest ray serene is a metaphor for people of great talent or virtue who remain unknown or unappreciated. Similarly, Full many a flow’r is born to blush unseen is another metaphor for people whose worth goes unnoticed. These metaphors highlight the theme of unrecognized potential.
15. Some village Hampden that with dauntless breast
The little tyrant of his fields withstood;
Some mute inglorious Milton here may rest,
Some Cromwell guiltless of his country’s blood.
Explanation
These lines suggest that among the humble villagers buried in the churchyard, there could have been individuals with the potential for greatness, had circumstances been different.
A “village-Hampden” refers to a person like John Hampden, a figure known for his opposition to arbitrary royal authority. This person, with a “dauntless breast”, could have bravely stood up to a “little tyrant”, perhaps a local authority or landlord.
The “mute inglorious Milton” refers to a potential poet of the caliber of John Milton, author of “Paradise Lost”, who might have lived and died in obscurity (“mute” and “inglorious”).
The reference to “Cromwell guiltless of his country’s blood” suggests a leader with the strength and determination of Oliver Cromwell, but without the associated guilt of civil war and bloodshed.
These lines underscore the theme of unrealized potential due to circumstances, often beyond one’s control. They highlight the inherent worth and potential in every individual, regardless of their social status or the recognition they receive.
Poetic Device:
Allusion: The references to Hampden, Milton, and Cromwell are examples of allusion. These allusions to historical figures suggest that the graves might contain people who could have been as influential as these figures, had they been given the opportunity.
16. Th’ applause of listening senates to command,
The threats of pain and ruin to despise,
To scatter plenty o’er a smiling land,
And read their history in a nation’s eyes
Explanation
These lines depict the potential achievements that the humble villagers could have accomplished, had they been given the opportunity.
“Th’ applause of list’ning senates to command” suggests the ability to influence and lead, perhaps in a political or legislative context. This could be a reference to the potential for leadership and the respect they could have commanded.
“The threats of pain and ruin to despise” implies a courage and resilience that could have allowed them to face adversity without fear.
“To scatter plenty o’er a smiling land” suggests the potential for generosity and the ability to bring prosperity to their land, making it a “smiling land”.
“And read their hist’ry in a nation’s eyes” implies that their deeds could have been significant enough to be remembered by a nation, their history reflected in the collective memory of the people.
These lines continue the theme of unrealized potential due to circumstances, often beyond one’s control. They highlight the inherent worth and potential in every individual, regardless of their social status or the recognition they receive.
Poetic Device:
Synecdoche: The phrase Th’ applause of list’ning senates to command is an example of synecdoche, where ‘senates’ represents people in power or authority. This synecdoche highlights the respect and recognition that the villagers could have commanded, had they been given the opportunity.
17. Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind,
Explanation
These lines reflect on the constraints that the villagers’ circumstances placed on them. Their “lot”, or fate, “forbade” them from not only realizing their virtues but also confined their potential for wrongdoing.
The phrase “Forbade to wade through slaughter to a throne” suggests that their humble status prevented them from engaging in the ruthless pursuit of power often associated with royalty or leadership. This could be seen as a subtle critique of the violence and cruelty often involved in the quest for power.
The line “And shut the gates of mercy on mankind” is a bit more complex. It could mean that their inability to act, either for good or ill, limited their capacity to show mercy. Alternatively, it could suggest that their lowly status in society denied them the mercy and opportunities that could have allowed them to rise above their circumstances.
These lines continue the theme of unrealized potential and the impact of societal constraints on individual lives.
Poetic Device:
Metaphor: The phrase Their lot forbade is a metaphor for the societal constraints that prevented the villagers from achieving greatness. This metaphor emphasizes the theme of the poem – the tragedy of potential wasted due to societal constraints.
18. The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse’s flame.
Explanation
These lines suggest the moral and ethical dilemmas that the villagers might have been spared due to their humble circumstances.
“The struggling pangs of conscious truth to hide” could refer to the internal conflict of hiding a painful truth. This could be seen as a commentary on the moral compromises sometimes made by those in positions of power.
“To quench the blushes of ingenuous shame” suggests the suppression of guilt or shame, perhaps arising from actions contrary to one’s true nature or principles.
The phrase “heap the shrine of Luxury and Pride / With incense kindled at the Muse’s flame” could be interpreted as using one’s talents (the “Muse’s flame”) for the pursuit of material wealth and status (“the shrine of Luxury and Pride”), rather than for their own sake or for the benefit of others.
These lines continue the theme of the poem, reflecting on the potential virtues and vices of those buried in the churchyard, and the impact of societal constraints on their lives.
Poetic Device:
Personification: The phrase The struggling pangs of conscious truth to hide is an example of personification. ‘Conscious truth’ is personified as something capable of experiencing ‘struggling pangs’. This personification highlights the internal conflict experienced by the villagers as they grapple with their unfulfilled potential.
19. Far from the madding crowd’s ignoble strife,
Their sober wishes never learned to stray;
Along the cool sequestered vale of life
They kept the noiseless tenor of their way.
Explanation
These lines depict the peaceful and unassuming lives of the villagers. “Far from the madding crowd’s ignoble strife” suggests that they lived away from the chaos and petty conflicts of crowded, bustling places. Their “sober wishes never learn’d to stray”, implying that their desires were simple and they were content with what they had.
The phrase “Along the cool sequester’d vale of life” paints a picture of a quiet, secluded valley, a metaphor for their calm and undisturbed lives. They “kept the noiseless tenor of their way”, meaning they lived their lives quietly and without causing a stir.
These lines emphasize the tranquility and simplicity of rural life, away from the hustle and bustle of city life or courtly intrigues. They underscore the theme of the poem, which is a contemplation of life and death, and a celebration of the quiet dignity of the rural poor.
Poetic Device:
Metaphor: The phrase Far from the madding crowd’s ignoble strife is a metaphor for the peaceful, simple life led by the villagers, away from the chaos and pettiness of city life. This metaphor serves to contrast the tranquility of rural life with the tumult of urban life.
20. Yet even these bones from insult to protect,
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture decked,
Implores the passing tribute of a sigh.
Explanation
These lines refer to the simple memorials erected for the villagers buried in the churchyard. The “bones from insult to protect” suggests the desire to preserve the dignity of the deceased. The “frail memorial still erected nigh” could be a simple gravestone or marker, a poignant symbol of their humble lives.
The memorials are “deck’d” with “uncouth rhymes and shapeless sculpture”, indicating that the tributes, perhaps epitaphs or carvings, are crude or unrefined, much like the simple, rustic lives of those they commemorate.
Despite their simplicity, these memorials “implore the passing tribute of a sigh”, asking those who pass by to spare a moment of reflection or a sigh of empathy for the lives that were lived and the human potential they represented.
Poetic Device:
Metaphor: The phrase Some frail memorial still erected nigh is a metaphor for the simple gravestones marking the villagers’ graves. This metaphor underscores the modesty of the villagers’ lives and deaths.
21. Their name, their years, spelt by th’ unletter’d muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.
Explanation
These lines refer to the simple inscriptions on the gravestones in the churchyard. The “unletter’d muse” suggests that these inscriptions are not sophisticated or eloquent, but they serve to record the names and years of those buried there.
The phrase “The place of fame and elegy supply” implies that these humble gravestones provide a form of recognition and remembrance for the villagers, serving as their “place of fame”. The “elegy” could refer to this very poem that Gray is writing, which serves to commemorate and honor the lives of these humble villagers.
The “holy text” that the muse “strews” around could refer to religious or moral sayings often found on gravestones. These texts “teach the rustic moralist to die”, suggesting that they provide lessons on mortality and the transient nature of life.
Poetic Device:
Metaphor: The phrase Their name, their years, spelt by th’ unletter’d muse is a metaphor for the simple epitaphs on the villagers’ gravestones. This metaphor emphasizes the simplicity and humility of the villagers’ lives and deaths.
22. For who to dumb Forgetfulness a prey,
This pleasing anxious being e’er resign’d,
Left the warm precincts of the cheerful day,
Nor cast one longing, ling’ring look behind?
Explanation
These lines pose a rhetorical question about the human fear of oblivion after death. The phrase “dumb Forgetfulness a prey” refers to being forgotten after death. The “pleasing anxious being” suggests the paradox of life, which is both pleasurable and fraught with anxiety.
The “warm precincts of the cheerful day” symbolize life, which one leaves behind at death. The “longing, ling’ring look behind” represents the natural human desire to hold onto life and the fear of the unknown that comes with death.
Poetic Device:
Metaphor: The phrase For who to dumb Forgetfulness a prey is a metaphor for those who die and are forgotten. This metaphor serves to underscore the theme of the poem – the tragedy of obscurity and the inevitability of forgetfulness after death.
23. On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
Ev’n from the tomb the voice of Nature cries,
Ev’n in our ashes live their wonted fires.
Explanation
These lines express the human desire for remembrance and the enduring spirit of life, even in death. The “fond breast” on which the “parting soul relies” suggests the comfort and solace we seek in others as we confront our mortality. The “pious drops” that the “closing eye requires” could refer to tears shed in prayer or sorrow, symbolizing the emotional connection and the shared sense of loss at the departure of a life.
The phrase “Ev’n from the tomb the voice of Nature cries” implies that the natural world echoes with the memory and presence of those who have passed, reinforcing the theme of the enduring connection between humanity and nature.
The line “Ev’n in our ashes live their wonted fires” is particularly poignant. It suggests that even in death (“our ashes”), the spark of life (“their wonted fires”) continues in some form. This could be interpreted as the enduring influence of one’s life, the continuation of one’s lineage, or the persistence of the spirit.
Poetic Device:
Metaphor: The phrase On some fond breast the parting soul relies is a metaphor. The ‘fond breast’ represents a loved one or a comforting presence, and the ‘parting soul’ symbolizes the dying person. This metaphor conveys the human need for comfort and companionship at the time of death.
24. For thee, who mindful of th’ unhonour’d Dead
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate,
Explanation
These lines address the reader directly, creating a sense of intimacy and shared understanding. The phrase “For thee, who mindful of th’ unhonour’d Dead” acknowledges the reader’s empathy and respect for the humble villagers commemorated in the poem.
“Dost in these lines their artless tale relate” suggests that by reading the poem, the reader is participating in telling the villagers’ simple, unadorned story. This creates a connection between the reader, the poet, and the villagers.
The lines “If chance, by lonely contemplation led, / Some kindred spirit shall inquire thy fate,” express the hope that someone, a “kindred spirit”, might one day remember and wonder about the reader’s own life and fate. This reinforces the poem’s themes of mortality, remembrance, and our shared human experience.
Poetic Device:
Personification: The phrase “If chance, by lonely contemplation led, Some kindred spirit shall inquire thy fate,” is an example of personification. ‘kindred spirit’ is personified as inquire the fate. This personification emphasizes the role of fate and chance in human life.
25. Haply some hoary-headed swain may say,
“Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away
To meet the sun upon the upland lawn.
Explanation
These lines imagine a possible future scenario where an old villager (“hoary-headed swain”) remembers the poet. The villager recalls seeing the poet early in the morning (“at the peep of dawn”), walking quickly (“brushing with hasty steps”) across the dew-covered grass to greet the sunrise (“meet the sun upon the upland lawn”).
This image of the poet as an early riser, eager to embrace the day, suggests a person who is in tune with nature and finds inspiration in the simple, everyday beauty of the world. It also creates a sense of the poet’s presence and impact on the villagers, even though he is no longer physically present.
Poetic Device:
Metaphor: The phrase Haply some hoary-headed swain may say is an example of metaphor, where ‘hoary-headed swain’ (an old farmer) represents the common people. This metaphor serves to highlight the wisdom and experience of the common people.
26. “There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.
Explanation
These lines continue the imagined reminiscence of the old villager about the poet. The “nodding beech” with its “old fantastic roots” provides a vivid image of a distinctive, ancient tree, suggesting a setting that is both real and slightly otherworldly.
The poet is described as stretching out “his listless length at noontide”, indicating a moment of rest or contemplation in the heat of the day. His attention is focused on the “brook that babbles by”, suggesting a deep connection with and appreciation for the natural world. These lines paint a picture of the poet as a figure who is in tune with nature and finds inspiration in its beauty.
Poetic Device:
Imagery: The phrase There at the foot of yonder nodding beech is an example of imagery. The vivid description of the scene creates a clear and vivid image in the reader’s mind, immersing them in the rural setting of the poem.
27. “Hard by yon wood, now smiling as in scorn,
Mutt’ring his wayward fancies he would rove,
Now drooping, woeful wan, like one forlorn,
Or craz’d with care, or cross’d in hopeless love.
Explanation
These lines continue the old villager’s reminiscence about the poet. The poet is described as wandering “hard by yon wood”, which is personified as “now smiling as in scorn”. This could suggest the poet’s fluctuating moods or the changing nature of his thoughts.
“Mutt’ring his wayward fancies he would rove” indicates the poet speaking his thoughts aloud, lost in his own world of imagination and ideas. His mood changes as he is “now drooping, woeful wan, like one forlorn”, suggesting a state of sadness or despair.
The line “Or craz’d with care, or cross’d in hopeless love” suggests the poet grappling with personal troubles or unrequited love. These lines paint a picture of a complex individual who experiences a range of emotions and states of mind, further humanizing the poet and making him relatable to the reader.
Poetic Device:
Personification: The phrase Hard by yon wood, now smiling as in scorn is an example of personification. The ‘wood’ is personified as being capable of smiling in scorn. This personification serves to convey the speaker’s feelings of rejection and scorn.
28. “One morn I miss’d him on the custom’d hill,
Along the heath and near his fav’rite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;
Explanation
These lines continue the old villager’s reminiscence about the poet. The villager notes that one morning, the poet was not found in his usual places – “on the custom’d hill”, “along the heath”, “near his fav’rite tree”, “beside the rill” (a small stream), “up the lawn”, or “at the wood”.
The repetition of the poet’s absence in these familiar places underscores the sense of loss and emptiness felt by the villager. It suggests that the poet was a regular and noticeable presence in these places, and his absence is keenly felt.
Poetic Device:
Metaphor: The phrase One morn I miss’d him on the custom’d hill is an example of metaphor. The ‘custom’d hill’ represents the familiar and routine aspects of life. This metaphor conveys the sense of loss and disruption caused by the absence of a familiar presence.
29. “The next with dirges due in sad array
Slow thro’ the church-way path we saw him borne.
Approach and read (for thou canst read) the lay,
Grav’d on the stone beneath yon aged thorn.”
Explanation
These lines depict the funeral procession of the poet. The “dirges due in sad array” refer to the mournful songs traditionally sung at a funeral. The phrase “Slow thro’ the church-way path we saw him borne” describes the slow, solemn procession carrying the poet’s body to its final resting place.
The lines “Approach and read (for thou canst read) the lay, / Grav’d on the stone beneath yon aged thorn” invite the reader to come closer and read the epitaph (“the lay”) engraved on the gravestone located under an old thorn tree. This epitaph could be seen as the poet’s final message to the world, a summary of his life and beliefs.
Poetic Device:
Alliteration: The phrase The next with dirges due in sad array is an example of alliteration. The repetition of the ‘d’ sound in ‘dirges due’ creates a mournful and solemn tone, enhancing the mood of the poem.
THE EPITAPH
30. Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frown’d not on his humble birth,
And Melancholy mark’d him for her o
Explanation
These lines form the epitaph for the poet. The phrase “Here rests his head upon the lap of Earth” signifies the poet’s final resting place, with the Earth metaphorically depicted as a nurturing figure.
“A youth to Fortune and to Fame unknown” indicates that the poet lived his life in obscurity, unknown to both fortune (wealth) and fame. Despite this, “Fair Science frown’d not on his humble birth” suggests that the poet was not denied the pursuit of knowledge (“Fair Science”) because of his humble origins.
The line “And Melancholy mark’d him for her own” personifies melancholy as a figure that claimed the poet. This could refer to the poet’s introspective nature and the somber themes of his work.
Poetic Device:
Metaphor: The phrase Here rests his head upon the lap of Earth is a metaphor. The ‘lap of Earth’ represents the grave, and ‘rests his head’ symbolizes death. This metaphor conveys the finality and peacefulness of death.
31. Large was his bounty, and his soul sincere,
Heav’n did a recompense as largely send:
He gave to Mis’ry all he had, a tear,
He gain’d from Heav’n (’twas all he wish’d) a friend.
Explanation
These lines continue to paint a picture of the subject of the poem, emphasizing his generosity, sincerity, and empathy.
“Large was his bounty, and his soul sincere,” suggests that he was generous and genuine in his actions and intentions. The phrase “Heav’n did a recompense as largely send” implies that his good deeds were rewarded by Heaven, reinforcing the theme of divine justice.
“He gave to Mis’ry all he had, a tear,” indicates that he empathized deeply with the suffering (Mis’ry), and his tear symbolizes his compassion and shared sorrow.
Finally, “He gain’d from Heav’n (’twas all he wish’d) a friend,” suggests that all he desired was companionship, which he received from Heaven, possibly referring to divine companionship or the companionship of a like-minded individual. These lines highlight the subject’s virtues and the rewards of living a life of sincerity, generosity, and empathy.
Poetic Device:
Hyperbole: The phrase He gave to Mis’ry all he had, a tear is an example of hyperbole. This exaggeration serves to emphasize the depth of the speaker’s compassion and empathy for the suffering of others.
32. No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose)
The bosom of his Father and his God.
Explanation
These lines conclude the epitaph and the poem with a plea for respect for the deceased.
“No farther seek his merits to disclose, Or draw his frailties from their dread abode,” suggests that there’s no need to further explore his virtues or expose his weaknesses. This could be seen as a call for understanding and acceptance of human imperfection.
The phrase “(There they alike in trembling hope repose)” implies that both his merits and frailties rest in hope, perhaps the hope of divine forgiveness or understanding. This reinforces the theme of universal human experience and the shared hope and fear associated with mortality and the afterlife.
“The bosom of his Father and his God” refers to the deceased returning to God, his creator. This line emphasizes the theme of mortality and the cycle of life and death.
Overall, these lines encapsulate the themes of respect for the deceased, acceptance of human imperfection, and the hope and fear associated with mortality and the afterlife. They provide a fitting conclusion to the poem’s contemplation of life, death, and human nature.
Poetic Device:
Metaphor: “Or draw his frailties from their dread abode,” – The ‘dread abode’ metaphorically refers to the grave, indicating the final resting place of the person’s weaknesses.
“The bosom of his Father and his God.” – ‘Bosom’ is used as a metaphor for comfort or safety, referring to the person being in the care of God after death.
Summary
“Elegy Written in a Country Churchyard” is a poem by Thomas Gray. It was completed in 1750 and first published in 1751. The poem was partly inspired by Gray’s thoughts following the death of the poet Richard West in 1742. Gray sent the poem in a letter to his friend Horace Walpole on June 12, 1750. It was first published as “An Elegy wrote in a Country Church Yard” and printed by Dodsley in 1751. The poem quickly became popular and was printed many times and in a variety of formats. It was translated into many languages and praised by critics.
“Elegy Written in a Country Churchyard” by Thomas Gray is a contemplative poem that explores themes of mortality, the universal experience of death, and the often-overlooked lives of society’s humble members.
The poem begins with a vivid description of a rural landscape at dusk, setting a somber and reflective tone. The speaker observes the end of a day’s work as a plowman makes his way home, leaving the world to darkness and the speaker’s solitary musings. The tranquility of the scene is only broken by the occasional sounds of nature, such as the droning flight of a beetle or the hooting of an owl.
The speaker then turns his attention to the graves of the village’s forefathers, lying beneath the elms and yew-tree’s shade. He reflects on the simple, hardworking lives they led, their joys and toils, their modest ambitions, and their inevitable end. The speaker laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs.
The poem continues with a series of hypotheticals, imagining the potential greatness that might have been achieved by these individuals had they been given the opportunity. The speaker suggests that among them could have been unrecognized poets, leaders, or heroes, their talents and virtues buried with them.
The speaker then imagines a future villager, an old farmer, recounting the speaker’s own life and death. The farmer describes the speaker’s daily routine, his solitary walks in nature, his melancholic demeanor, and his eventual disappearance and death. The speaker’s grave, like those of the villagers, is marked by a simple stone and an epitaph.
The epitaph reveals that the speaker was a youth unknown to fortune and fame, marked by melancholy, but possessing a sincere soul. He was generous, giving all he had to alleviate misery, and his only wish was for a friend. The epitaph ends with a plea not to judge his merits or faults, but to let them rest in peace with him in the bosom of his Father and his God.
Throughout the poem, Gray employs various poetic devices to enhance the themes and mood of the poem. These include personification, metaphor, synecdoche, alliteration, and apostrophe. The poem’s somber and reflective tone, its focus on death and mortality, and its empathy for the humble and overlooked members of society, make it a poignant and thought-provoking read.
In conclusion, “Elegy Written in a Country Churchyard” is a profound exploration of life, death, and the human condition. It serves as a reminder of our shared mortality, the transient nature of life, and the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind. It is a testament to Gray’s skill as a poet and his deep understanding of human nature and the world around him.
Key Points
Author
Thomas Gray, the author of the poem, was an English poet, letter-writer, and scholar. Known for his scholarly work and his poetry, Gray’s most famous poem is this one, “Elegy Written in a Country Churchyard”. It stands out for its contemplative tone and its focus on the often-overlooked lives of the rural poor.
Form (Rhyme Scheme)
The form of the poem is that of an elegy, a type of mournful or melancholic poem that typically laments the dead. This particular elegy consists of 32 quatrains (four-line stanzas), and it follows a consistent rhyme scheme of ABAB throughout. Each line is written in iambic pentameter, a common meter in English poetry that gives the poem a rhythmic and flowing quality.
Speaker
The speaker in the poem is an observer who is reflecting on life, death, and the human condition. While the speaker is not explicitly identified, it is generally considered to be a persona of the poet himself. The speaker’s observations and reflections form the basis of the poem.
Setting
The setting of the poem is a rural churchyard at dusk. The speaker observes the end of the day, the quiet landscape, and the graves of the village’s forefathers. This setting provides a peaceful and solemn backdrop for the speaker’s reflections on mortality and the universal experience of death.
Theme
The themes of the poem are mortality, the universal experience of death, and the often-overlooked lives of society’s humble members. The poem explores the idea that death is a universal experience, regardless of one’s social status or achievements in life. It also highlights the dignity and worth of the rural poor, whose lives and deaths often go unnoticed and unappreciated.
Plot
The plot of the poem involves the speaker’s reflections on the lives and deaths of the villagers buried in the churchyard. He contemplates their simple, hardworking lives, their modest ambitions, and their inevitable end. He laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs.
Tone
The tone of the poem is somber and reflective. The speaker’s contemplative observations and the peaceful, solemn setting contribute to this tone. The poem conveys a sense of melancholy, reverence for the dead, and empathy for the humble and overlooked members of society.
Style
In terms of style, Gray’s poem is characterized by its use of vivid imagery, personification, metaphor, and other poetic devices. The language is formal and the mood is contemplative. The poem’s style contributes to its overall impact, enhancing its themes and mood.
Message
The message of the poem is a reminder of our shared mortality, the transient nature of life, and the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind. It is a testament to Gray’s skill as a poet and his deep understanding of human nature and the world around him.
Thomas Gray
Birth and Early Life
Thomas Gray was born on December 26, 1716, in Cornhill, London.
He was the fifth of twelve children, and the only one to survive infancy.
His father, Philip Gray, was a scrivener, and his mother, Dorothy Antrobus, was a milliner.
After his mother left his abusive father, Gray lived with her.
Education
Gray’s mother paid for him to go to Eton College, where his uncles Robert and William Antrobus worked.
Robert became Gray’s first teacher and helped inspire in Gray a love for botany and observational science.
Gray’s other uncle, William, became his tutor.
In 1734, Gray went up to Peterhouse, Cambridge.
Career
Gray was an English poet, letter-writer, classical scholar, and fellow at Pembroke College, Cambridge.
Despite being very popular, Gray was a self-critical writer who published only 13 poems in his lifetime.
He was even offered the position of Poet Laureate in 1757 after the death of Colley Cibber, though he declined.
Famous Works
Gray is widely known for his poem “Elegy Written in a Country Churchyard”, published in 1751.
Other notable works include “Ode on a Distant Prospect of Eton College” and “The Bard”.
Death
Thomas Gray died on July 30, 1771, in Cambridge, England.
Word Meaning
Tough Word | Meaning in English |
| curfew | A regulation requiring people to remain indoors after a certain time, typically at night |
| tolls | The ringing of a bell, especially when rung solemnly for a death or funeral |
| knell | The sound of a bell, especially when rung solemnly for a death or funeral |
| parting | The action of leaving, typically in farewell |
| lowing herd | A group of cattle making a low, continuous sound |
| lea | Open land, especially grassland, in a rural area |
| plowman | A person who plows the land, typically a farmer |
| plods | Walks slowly and heavily, as if weighed down by something |
| weary | Feeling or showing tiredness |
| glimm’ring | Faintly shining or flickering |
| landscape | All the visible features of an area of land, often considered in terms of their aesthetic appeal |
| solemn | Formal and dignified, often associated with ceremony or ritual |
| beetle | An insect of a large order distinguished by having forewings that are typically hardened and darkened |
| droning flight | A continuous humming or buzzing sound made by an insect flying |
| drowsy | Sleepy or lethargic |
| tinklings | A series of short, light, ringing sounds |
| lull | Calm or send to sleep, typically with soothing sounds or movements |
| yonder | At some distance in the direction indicated; over there |
| ivy-mantled tow’r | A tower covered or adorned with ivy |
| moping owl | An owl that appears gloomy or dejected |
| wand’ring | Moving about aimlessly or without any destination |
| bow’r | A pleasant shady place under trees or climbing plants in a garden or wood |
| Molest | To pester or harass someone, typically in a sexual manner |
| ancient | Belonging to the very distant past; having existed for a very long time |
| solitary reign | The period during which someone or something is alone and does not have company |
| rugged elms | Tough or strong elms, often used to describe trees in harsh conditions |
| yew-tree’s shade | The shadow cast by a yew tree, a type of evergreen conifer |
| heaves | Lifts or raises forcefully |
| turf | Grass and the surface layer of earth held together by its roots |
| mould’ring heap | A pile of decaying or decomposing material |
| hamlet | A small settlement, generally smaller than a village |
| breezy | Refreshingly cool and pleasant, often with a gentle wind blowing |
| incense | A substance that is burned for its sweet smell, often used in religious ceremonies |
| Morn | Morning, the early part of the day |
| twitt’ring | Making a series of high-pitched, chirping sounds |
| straw-built shed | A shelter or structure made from straw |
| cock’s shrill clarion | The loud, clear call of a rooster |
| echoing horn | A horn whose sound is reflected off surfaces, making it seem to come from different directions |
| rouse | To awaken or stir from sleep |
| lowly bed | A humble or modest resting place, typically a grave or tomb |
| hearth | The floor of a fireplace, usually made of brick or stone |
| ply | To work diligently or engage in an activity repeatedly or steadily |
| lisp | To speak with a speech impediment, often characterized by a slight difficulty in pronouncing certain sounds |
| sire’s return | The return of the father, often eagerly anticipated by children |
| envied | Regarded with jealousy or resentment due to someone else’s possession or success |
| Oft | Often, frequently |
| harvest | The time of year when crops are gathered and ripe |
| sickle | A short-handled farming tool with a semicircular blade, used for cutting crops |
| furrow | A long, narrow trench made in the ground by a plow, especially for planting seeds or crops |
| stubborn | Difficult to move, change, or deal with, often due to resistance or refusal |
| glebe | A plot of land belonging to a church or parish, often used to support the clergy |
| jocund | Cheerful and lighthearted |
| bow’d | Bowed or bent in a humble or submissive manner |
| sturdy | Strong and robust in construction or character |
| toil | Hard work, labor, or effort |
| obscure | Not well known or known about, hidden or uncertain |
| Grandeur | Splendor and impressiveness, especially of appearance or style |
| disdainful | Showing contempt or lack of respect |
| annals | Historical records or chronicles, especially of a particular period or event |
| boast | To talk with excessive pride or self-satisfaction about one’s achievements, possessions, or abilities |
| heraldry | The system by which coats of arms and other armorial bearings are devised, described, and regulated |
| pomp | Splendid or magnificent display, especially at a public event |
| inevitable | Certain to happen, unavoidable |
| grave | A place of burial for a dead body, typically a hole dug in the ground and marked by a headstone or monument |
| impute | To attribute or ascribe (something undesirable) to someone |
| tomb | A large vault, typically an underground one, for burying the dead |
| aisle | A passage between rows of seats in a building such as a church or theater |
| fretted vault | An intricately designed ceiling or roof, often with ornamental patterns |
| pealing anthem | A loud ringing or echoing sound, often associated with choral music or religious ceremonies |
| urn | A tall, rounded vase with a narrow neck, often used for decorative purposes or as a receptacle for ashes after cremation |
| animated bust | A sculpture or representation of a person’s head, shoulders, and upper chest, typically in the form of a statue or medallion |
| fleeting | Lasting for a very short time, ephemeral |
| provoke | To incite or stimulate (a reaction or emotion), especially deliberately |
| Flatt’ry | Excessive or insincere praise and admiration, especially when used to manipulate or gain favor |
| soothe | To calm or comfort someone or their feelings, typically by gentle means |
| celestial fire | Divine or heavenly inspiration or passion |
| sway’d | To move or cause to move slowly or rhythmically back and forth or from side to side |
| ecstasy | An overwhelming feeling of great happiness or joyful excitement |
| living lyre | A person who, if given the chance, could have created beautiful music or poetry |
| ample | More than enough, abundant or plentiful |
| Chill Penury | The state of extreme poverty or destitution |
| repress’d | Kept under control or subdued, often by force or authority |
| rage | Violent, uncontrollable anger or fury |
| genial | Friendly and cheerful, pleasantly mild and warm |
| serene | Calm, peaceful, and untroubled |
| unfathom’d | Not fully explored, understood, or measured; incomprehensible |
| blush | A reddening of the face, typically from embarrassment or shame |
| Hampden | A reference to John Hampden, a key figure in the English Civil War who opposed arbitrary taxation without parliamentary consent |
| dauntless breast | A fearless or courageous heart |
| tyrant | A cruel and oppressive ruler or person, often associated with abuse of power |
| inglorious Milton | A reference to John Milton, the English poet best known for “Paradise Lost,” here suggesting an unrecognized or uncelebrated talent |
| Cromwell guiltless | A reference to Oliver Cromwell, a controversial figure in English history, suggesting a version of him free from guilt or wrongdoing |
| applause | Enthusiastic approval or praise, typically shown by clapping |
| senates | Deliberative assemblies, typically referring to legislative bodies or councils |
| despise | Feel contempt or a deep repugnance for |
| scatter | Throw in various random directions |
| forbade | Prohibit (someone) from doing something |
| circumscrib’d | Restrict (something) within limits |
| virtues | Behavior showing high moral standards |
| confin’d | Keep or restrict someone or something within certain limits |
| wade | Walk with effort through water or another liquid or viscous substance |
| slaughter | The killing of animals for food |
| throne | The seat of state of a sovereign or supreme ruler |
| mercy | Compassion or forgiveness shown toward someone whom it is within one’s power to punish or harm |
| pangs | A sudden sharp pain or painful emotion |
| quench | To satisfy (one’s thirst) by drinking |
| blushes | A reddening of the face, typically from embarrassment or shame |
| ingenuous shame | Genuine feelings of embarrassment or guilt |
| heap | To pile up in a disorderly manner |
| shrine | A place regarded as holy because of its associations with a divinity or a sacred person or relic |
| incense | A substance that is burned for its sweet smell, often used in religious ceremonies |
| kindled | Ignited or set on fire |
| Muse’s flame | The inspiration or creative spirit associated with poetry and artistic endeavors |
| madding | Characterized by frenzy or excitement |
| ignoble strife | Unworthy or base conflict or struggle |
| sober | Serious, sensible, and solemn |
| sequester’d | Kept separate or secluded |
| vale | A valley, typically one that is long and bounded by gently sloping hills |
| tenor | The general sense or meaning of something, often with regard to how it affects someone’s life or thoughts |
| frail | Weak or delicate |
| nigh | Near, close |
| uncouth | Lacking manners, refinement, or grace; awkward or clumsy |
| deck’d | Decorated or adorned |
| Implores | Beg someone earnestly or desperately to do something |
| unletter’d muse | A poetic inspiration or source of creativity that is uneducated or not formally trained |
| elegy | A poem of serious reflection, typically a lament for the dead |
| strews | Scatter or spread (things) untidily over a surface or area |
| rustic | Of or relating to rural life or the countryside |
| prey | An animal that is hunted and killed by another for food |
| precincts | The area within the walls or perceived boundaries of a particular building or place |
| ling’ring | Lasting for a long time or slow to end |
| wonted | Usual, regular, or customary |
| thee | You (used in the objective case as the object of a verb or preposition) |
| Dost | Do (used with thou as a singular subject) |
| tale | A fictitious or true narrative or story, especially one that is imaginatively recounted |
| contemplation | The action of looking thoughtfully at something for a long time |
| kindred | One’s family and relations |
| Haply | By chance; perhaps |
| hoary-headed swain | An old man with gray or white hair, often used poetically to refer to a shepherd |
| peep of dawn | The first appearance of light in the sky before sunrise |
| dews | Tiny drops of water that form on cool surfaces at night, especially grass, when atmospheric vapor condenses |
| upland lawn | A grassy area of land higher than its surroundings, often used for grazing livestock or as a recreational space |
| yonder nodding beech | A beech tree that is swaying or moving slightly in the distance |
| wreathes | Arranges (something) in a particular way |
| noontide | The middle of the day; noon |
| pore | Be absorbed in the reading or study of |
| babble | Talk rapidly and continuously in a foolish, excited, or incomprehensible way |
| scorn | Feel or express contempt or derision for |
| mutt’ring | Say something in a low or barely audible voice, especially in dissatisfaction or irritation |
| wayward | Difficult to control or predict because of unusual or perverse behavior |
| rove | Travel constantly without a fixed destination or purpose |
| drooping | Bend or hang downward limply or languidly |
| woeful wan | Pale or sickly in appearance, often associated with sadness or misery |
| forlorn | Pitifully sad and abandoned or lonely |
| craz’d | Mentally deranged or insane |
| morn | Morning, the early part of the day |
| custom’d hill | A hill that is used to a particular practice, often used in a ritualistic or habitual manner |
| heath | An area of open uncultivated land, especially in Britain, with characteristic vegetation of heather, gorse, and coarse grasses |
| rill | A small stream or brook |
| lawn | An area of short, mown grass in a yard, garden, or park |
| dirges | A lament for the dead, especially one forming part of a funeral rite |
| array | An impressive display or range of a particular type of thing |
| borne | Carried or transported by |
| thou | You (used to refer to the person being addressed as the object of a verb or preposition) |
| lay | To put down, especially gently or carefully |
| thorn | A stiff, sharp-pointed, straight or curved woody projection on the stem or other part of a plant |
| EPITAPH | A phrase or statement written in memory of a person who has died, especially as an inscription on a tombstone |
| frown’d | Look disapprovingly at |
| Melancholy | A feeling of pensive sadness, typically with no obvious cause |
| bounty | Generosity or generosity in giving; a reward or gift |
| recompense | Compensation or reward given for loss or harm suffered or effort made |
| Mis’ry | Suffering or pain caused by a lack of basic necessities |
| frailties | The faults, flaws, or weaknesses in someone’s character or behavior |
| dread abode | A place of fear or anxiety |
| trembling | Shake involuntarily, typically as a result of anxiety, excitement, or frailty |
| repose | A state of rest, sleep, or tranquility |
| bosom | A person’s chest or breast, regarded as the seat of emotions |
Very Short Answer Questions
Q: Who is the author of “Elegy Written in a Country Churchyard”?
A: The author is Thomas Gray.
Q: What is the form of the poem?
A: The poem is an elegy.
Q: What is the rhyme scheme of the poem?
A: The rhyme scheme is ABAB.
Q: Where is the poem set?
A: The poem is set in a rural churchyard.
Q: What time of day is described at the beginning of the poem?
A: The poem begins at dusk.
Q: What is a major theme of the poem?
A: A major theme is the universal experience of death.
Q: Who is the speaker in the poem?
A: The speaker is an observer reflecting on life and death.
Q: What does the speaker reflect on in the poem?
A: The speaker reflects on mortality and the lives of humble rural folk.
Q: What does the speaker lament in the poem?
A: The speaker laments the lack of recognition for the humble individuals buried in the churchyard.
Q: What does the speaker imagine in the poem?
A: The speaker imagines the potential greatness that might have been achieved by the villagers.
Q: What is the tone of the poem?
A: The tone is somber and reflective.
Q: What poetic devices does Gray use in the poem?
A: Gray uses imagery, personification, metaphor, and other poetic devices.
Q: What does the speaker’s epitaph reveal about him?
A: The epitaph reveals that the speaker was a youth unknown to fortune and fame, marked by melancholy, but possessing a sincere soul.
Q: What does the phrase “On some fond breast the parting soul relies” mean?
A: It means that the dying person relies on a loved one or a comforting presence.
Q: What does the phrase “Haply some hoary-headed swain may say” mean?
A: It means that perhaps an old farmer may speak.
Q: What does the phrase “Here rests his head upon the lap of Earth” mean?
A: It means that the person is buried in the earth, i.e., he is dead.
Q: What does the phrase “He gave to Mis’ry all he had, a tear” mean?
A: It means that the speaker showed compassion for the suffering of others.
Q: What does the phrase “No farther seek his merits to disclose” mean?
A: It means do not try to uncover more about the deceased’s virtues or faults.
Q: When was the poem first published?
A: The poem was first published in 1751.
Q: What type of poem is “Elegy Written in a Country Churchyard”?
A: It is a contemplative poem that explores themes of mortality and the universal experience of death.
Short Answer Questions
Q: What is the significance of the setting in “Elegy Written in a Country Churchyard”?
A: The setting of a rural churchyard at dusk provides a peaceful and solemn backdrop for the speaker’s reflections on mortality and the universal experience of death. It also serves to highlight the often overlooked lives of the rural poor, whose lives and deaths are marked only by simple gravestones and epitaphs.
Q: How does the speaker in the poem view death?
A: The speaker views death as a universal experience that transcends social status and achievements in life. He laments the lack of recognition and remembrance for the humble individuals buried in the churchyard, suggesting that their lives and deaths are just as significant as those of more famous or influential individuals.
Q: What is the main theme of “Elegy Written in a Country Churchyard”?
A: The main theme of the poem is the universal experience of death and the often-overlooked lives of society’s humble members. The poem explores the idea that death is a universal experience, regardless of one’s social status or achievements in life. It also highlights the dignity and worth of the rural poor, whose lives and deaths often go unnoticed and unappreciated.
Q: How does the poem reflect on the lives of the rural poor?
A: The poem reflects on the simple, hardworking lives of the rural poor, their modest ambitions, and their inevitable end. The speaker imagines the potential greatness that might have been achieved by these individuals had they been given the opportunity. He laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs.
Q: What poetic devices does Thomas Gray use in the poem?
A: Gray uses a variety of poetic devices in the poem, including imagery, personification, metaphor, and other poetic devices. For example, he uses personification to give human qualities to non-human entities, such as the air holding a solemn stillness. He uses metaphor to convey abstract ideas, such as the ‘parting soul’ relying on a ‘fond breast’ to symbolize the human need for comfort at the time of death.
Q: How does the poem convey the theme of unfulfilled potential?
A: The poem conveys the theme of unfulfilled potential through the speaker’s reflections on the lives and deaths of the villagers buried in the churchyard. He contemplates their simple, hardworking lives, their modest ambitions, and their inevitable end. He laments the lack of recognition and remembrance for these humble individuals, and imagines the potential greatness that might have been achieved by these individuals had they been given the opportunity.
Q: What is the tone of “Elegy Written in a Country Churchyard”?
A: The tone of the poem is somber and reflective. The speaker’s contemplative observations and the peaceful, solemn setting contribute to this tone. The poem conveys a sense of melancholy, reverence for the dead, and empathy for the humble and overlooked members of society.
Q: How does the poem reflect on the nature of fame and recognition?
A: The poem reflects on the nature of fame and recognition by highlighting the often-overlooked lives of the rural poor. The speaker laments the lack of recognition and remembrance for these humble individuals, suggesting that their lives and deaths are just as significant as those of more famous or influential individuals. He criticizes societal values that prioritize wealth and status over character and virtue.
Q: What is the message of “Elegy Written in a Country Churchyard”?
A: The message of the poem is a reminder of our shared mortality, the transient nature of life, and the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind.
Q: How does the poem use imagery to convey its themes?
A: The poem uses vivid imagery to convey its themes. For example, the description of the rural landscape at dusk sets a somber and reflective tone, providing a backdrop for the speaker’s reflections on mortality and the universal experience of death. The imagery of the simple gravestones and epitaphs highlights the often overlooked lives of the rural poor.
Essay Type Questions
Write the critical appreciation of the poem.
Introduction
“Elegy Written in a Country Churchyard” is a poem by Thomas Gray, one of the most prominent English poets of the 18th century. Completed in 1750 and first published in 1751, the poem is considered one of the most beautiful elegies in English literature. It stands out for its contemplative tone, its exploration of mortality, and its empathetic portrayal of the often-overlooked lives of the rural poor.
Central Idea
The central idea of the poem revolves around the reflection on the inevitability of death and the often-overlooked lives of society’s humble members. The speaker, observing a rural churchyard at dusk, contemplates the lives and deaths of the villagers buried there. He reflects on their simple, hardworking lives, their modest ambitions, and their inevitable end. He laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs.
Structure & Rhyme Scheme
The poem is structured as an elegy, a form of mournful or melancholic poem that typically laments the dead. It consists of 32 quatrains (four-line stanzas), and it follows a consistent rhyme scheme of ABAB throughout. Each line is written in iambic pentameter, a common meter in English poetry that gives the poem a rhythmic and flowing quality. This structure provides a rhythmic and flowing quality to the poem, enhancing its reflective and contemplative tone.
Theme
“Elegy Written in a Country Churchyard” by Thomas Gray is a profound exploration of several themes. Here are the key themes used in the poem:
Mortality and the Universal Experience of Death One of the central themes of the poem is mortality and the universal experience of death. The speaker reflects on the inevitability of death, which is a shared fate for all, regardless of one’s social status or achievements in life. The poem explores the idea that death is a universal experience, a common end for all living beings. This theme is conveyed through the speaker’s reflections on the lives and deaths of the villagers buried in the churchyard, their simple, hardworking lives, their modest ambitions, and their inevitable end.
The Lives of Society’s Humble Members Another significant theme in the poem is the often-overlooked lives of society’s humble members. The speaker laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs. The poem highlights the dignity and worth of the rural poor, whose lives and deaths often go unnoticed and unappreciated. This theme serves as a critique of societal values that prioritize wealth and status over character and virtue.
Unfulfilled Potential The theme of unfulfilled potential is also explored in the poem. The speaker imagines the potential greatness that might have been achieved by the villagers had they been given the opportunity. He contemplates their simple, hardworking lives, their modest ambitions, and their inevitable end. He laments the lack of recognition and remembrance for these humble individuals, whose lives and deaths are marked only by simple gravestones and epitaphs. This theme serves to highlight the tragedy of potential wasted due to societal constraints.
The Transient Nature of Life The transient nature of life is another theme that the poem explores. The speaker reflects on the fleeting nature of life, the transient nature of earthly glory, and the inevitability of death. This theme serves as a reminder of our shared mortality and the transient nature of life.
The Value and Dignity of Every Individual The poem also emphasizes the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind. This theme serves as a testament to Gray’s deep understanding of human nature and the world around him.
“Elegy Written in a Country Churchyard” is a profound exploration of life, death, and the human condition. Through its contemplative tone, its exploration of mortality, and its empathetic portrayal of the often-overlooked lives of the rural poor, the poem continues to resonate with readers today, making it a timeless classic in English literature. The themes used in the poem serve to enhance its depth and richness, making it a poignant and thought-provoking read.
Style
In terms of style, Gray’s poem is characterized by its use of vivid imagery, personification, metaphor, and other poetic devices. The language is formal and the mood is contemplative. The poem’s style contributes to its overall impact, enhancing its themes and mood. The vivid descriptions and the use of various poetic devices serve to bring the poem’s themes to life, making it a poignant and thought-provoking read.
Poetic Devices
“Elegy Written in a Country Churchyard” by Thomas Gray is rich in poetic devices that contribute to its depth and beauty. Here’s a detailed look at some of the main poetic devices used in the poem:
Imagery Gray uses vivid imagery throughout the poem to create a clear and compelling picture of the rural churchyard and its surroundings. For example, the opening lines paint a picture of the end of a day’s work as a plowman makes his way home, leaving the world to darkness and the speaker’s solitary musings. The tranquility of the scene is only broken by the occasional sounds of nature, such as the droning flight of a beetle or the hooting of an owl.
Personification Personification is used extensively in the poem to give human qualities to non-human entities. For example, in the opening stanza, the curfew bell is given the human action of tolling the knell (a bell rung at a funeral) for the end of the day. This sets a somber tone for the poem, indicating the end of life and the onset of darkness, which could symbolize death.
Metaphor Metaphors are used throughout the poem to convey abstract ideas in a more concrete and vivid manner. For example, the ‘parting soul’ relying on a ‘fond breast’ is a metaphor that symbolizes the human need for comfort at the time of death. Similarly, the ‘paths of glory’ leading ‘but to the grave’ is a metaphor that serves as a reminder of the transient nature of earthly glory and the inevitability of death.
Alliteration Alliteration, the repetition of the same consonant sound at the beginning of words, is used in the poem to create a rhythmic effect. For example, in the line “The boast of heraldry, the pomp of pow’r”, the repetition of the ‘p’ sound creates a musical quality that enhances the flow of the poem.
Apostrophe Apostrophe, a figure of speech in which the speaker addresses an absent person, an abstract idea, or a thing, is used in the poem. For example, in the line “Let not Ambition mock their useful toil”, the speaker addresses Ambition, an abstract concept, as if it were a person capable of mocking the toil of the common people.
The use of these poetic devices in “Elegy Written in a Country Churchyard” serves to enhance the themes and mood of the poem, making it a rich and layered work of art. Through his skillful use of these devices, Gray creates a poignant and thought-provoking exploration of life, death, and the human condition. The poem’s beauty and depth are a testament to Gray’s mastery of the poetic craft.
Message
The message of the poem is a reminder of our shared mortality, the transient nature of life, and the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind. It is a testament to Gray’s skill as a poet and his deep understanding of human nature and the world around him.
Conclusion
In conclusion, “Elegy Written in a Country Churchyard” is a profound exploration of life, death, and the human condition. It serves as a reminder of our shared mortality, the transient nature of life, and the value and dignity of every individual, regardless of their social status or recognition. It invites us to reflect on our own lives, our ambitions and achievements, and the legacy we leave behind. It is a testament to Gray’s skill as a poet and his deep understanding of human nature and the world around him. Through its contemplative tone, its exploration of mortality, and its empathetic portrayal of the often-overlooked lives of the rural poor, the poem continues to resonate with readers today, making it a timeless classic in English literature.
