In particular, it is possible that Gray was interested in debates over the treatment of the poor, and that he supported the political structure of his day, which was to support the poor who worked but look down on those that refused to. But when compared to other works by the so-called , such as 's The Grave 1743 , Gray's poem has less emphasis on common images found there. He is like a depressed lover or a madman. Mon Voyage au Mont d'Or. In Wakefield's Poems of Mr. It's dark and a bit spooky. In addition, many in his 1898 contain a graveyard theme and take a similar stance to Gray, and its frontispiece depicts a graveyard.
Aus dem Englischen des Herrn Gray. In 1734, Gray went up to. In the same year that Anstey and his friend were working on their Elegia Scripta in Coemeterio Rustico, Latine reddita 1762 , another Latin version was published by with the title Carmen Elegiacum. It was printed many times and in a variety of formats, translated into many languages, and praised by critics even after Gray's other poetry had fallen out of favour. Ad id enim me, properantibus ad finem praelis, eorum, quorum plurimum apud me valere debet auctoritas, consilium impulit. Some were reused in later editions, including the multilingual anthology of 1839 mentioned above.
The French author there was Pierre Guédon de Berchère and the Latin translator like Gray and Anstey, a Cambridge graduate was. The verse is beautifully adapted to this generalizing manner which consequently does not attract the charge of insincerity sometimes made against 18th century poems of this kind. The text here given is that of the Edition of 1768, which appears to be authoritative and final. What we learn from all this activity is that, as the centenary of its first publication approached, interest in Gray's Elegy continued unabated in Europe and new translations of it continued to be made. In the twentieth century we have remained eager to praise, yet praise has proved difficult; although tradition and general human experience affirm that the poem is a masterpiece, and although one could hardly wish a single word changed, it seems surprisingly resistant to analysis. He shows the beauty in the misspelled inscriptions in the tombstone, some unpolished and consoling biblical verses and poorly decorated shapeless sculpture. At least I am sure that I had the twelve or more first lines from himself above three years after that period, and it was long before he finished it.
Gray perhaps knew these men, sharing ideas about death, mortality, and the finality and sublimity of death. Lewis, in vico dicto, Russel Street et B. Although universal in its statements on life and death, the poem was grounded in Gray's feelings about his own life, and served as an epitaph for himself. 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 history in a nation's eyes, Their lot forbade: nor circumscribed alone Their glowing virtues, but their crimes confined; 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. As he began to contemplate various aspects of mortality, he combined his desire to determine a view of order and progress present in the with aspects of his own life. The poem was at once reproduced in the magazines; it appeared in the ''Magazine of Magazines'' on the 28th of February, in the ''London Magazine'' and in the ''Scots' Magazine,'' on the 31st of March, and in the ''Grand Magazine of Magazines'' on the 30th of April.
Virgil is just as good as Milton, and Cæsar as Cromwell, but who shall be Hampden? 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? In the letter, Gray said, The Stanza's, which I now enclose to you have had the Misfortune by Mr W:s Fault to be made. Elegia scritta in cimiterio di campagna. London: Printed for, and sold by, the Translator, 1782. Although he was one of the least productive poets his collected works published during his lifetime amount to fewer than 1,000 lines , he is regarded as the foremost English-language poet of the mid-18th century. When the poem was written in 1749 Gray lost his aunt and his friend was nearly killed by two highwaymen. Lonsdale also argued that the early poem fits classical models, including 's and 's. The poem, as it developed from its original form, advanced from the manner and became more Miltonic.
In evoking the English countryside, the poem belongs to the picturesque tradition found in 's 1726 , and the long line of topographical imitations it inspired. 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. Pindaric odes are to be written with fire and passion, unlike the calmer and more reflective such as Ode on a distant Prospect of Eton College. In the preceding link there are only four illustrations of Gray's poetry, but there are a total of six did for some of Gray's most popular poems. He lost his near and dear ones to death. An additional feature was the cover of deeply embossed brown leather made to imitate carved wood.
They tell me that an ingenious Poem, called 'Reflections in a Country Church-yard,' has been communicated to them, which they are printing forthwith; that they are informed that the excellent author of it is I by name, and that they beg not only his indulgence, but the honour of his correspondence, etc. Gray was an extremely writer who published only 13 poems in his lifetime, despite being extremely popular. The epitaph reveals that the poet whose grave is the focus of the poem was unknown and obscure. Written in a Country Meeting House, April 1789; Parodized from Gray for the Entertainment of Those Who Laugh at All Parties by George Richards d. But that gets the speaker thinking about his own inevitable death, and he gets a little freaked out. Fair Science frown'd not on his humble birth, And Melancholy mark'd him for her own. Gray's surviving letters also show his sharp observation and playful sense of humour.
Gray does not want to round his poem off neatly, because death is an experience of which we cannot be certain, but also because the logic of his syntax demands continuity rather than completion. The Bard tells of a wild Welsh poet cursing the Norman king after his conquest of Wales and prophesying in detail the downfall of the. 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. Elegie Auf einem Dorfkirchhofe geschrieben. Ecrite dans un d'église de village cimetière.
The later ending also explores the narrator's own death, whereas the earlier version serves as a Christian consolation regarding death. Thomae Gray Elegia in Rusticum Sepulcretum, ex Anglico in Latinum Conversa. The aunt was buried at the graveyard by the St. The pattern of including translations and imitations together continued into the 19th century with an 1806 bilingual edition in which a translation into French verse, signed simply L. The Aldine edition of the British poets series.
With its pensive mood and love of twilight it is in the Penseroso vein; in its meditation on death and the grave, it belongs more properly to the school of Blair and Young. In theme and tendency Shelley's poem closely resembles the setting of the Elegy but concludes that there is something appealing in death that frees it of terror. Originally titled Stanzas Wrote in a Country Church-Yard, the poem was completed when Gray was living near St Giles' at. And that guy might see the speaker's tombstone, and ask a local villager about it. 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.