Summary (Masterplots, Fourth Edition)
Thomas Gray probably began “Elegy Written in a Country Churchyard” about 1746. It was originally a somewhat shorter poem than the version he published in 1751, and some have speculated that the poem may have been occasioned by an actual death, perhaps that of Gray’s friend Richard West in 1742. When Gray designated his work as an elegy, he placed it in a long tradition of meditative poems that focus on human mortality and sometimes reflect specifically on the death of a single person. By setting his meditation in a typical English churchyard with mounds, gravestones, and yew trees, Gray was also following a tradition. Some of the most popular poems in the middle of Gray’s century were set in graveyards and meditated on death.
“Elegy Written in a Country Churchyard” is cast in four-line stanzas, or quatrains, in which the first line rhymes with the third, the second with the fourth. This abab pattern, at this time associated with elegiac poetry, gives the poem an appropriately stately pace. The last three stanzas are printed in italic type and given the title “The Epitaph.”
In the first three stanzas (lines 1 to 12), Gray sets the scene for his private and quiet meditations. He is far from the city and looking out from a country churchyard at a rural scene, but the sights and sounds of this rural world of men and beasts fade away. Although the scene is beautiful, life is not joyous, and Gray reflects that this day dies just like the one before it, as the plowman plods wearily home. The poet is alone, but he is not tired. The text gives a sense of the vitality of his solitude and of the stillness of the scene by describing the few things that remain to disturb it: the tinkling of the cattle who have returned home, the drone of the beetle, and the sound of an owl from the church tower. This owl—a “moping,” secret, solitary ruler over the churchyard since ancient times—strikes an ominous note and protests that the poet is challenging its reign. With these descriptions, Gray creates the backdrop for his melancholy reflections about eternal truths.
In the next four stanzas (lines 13 to 28), Gray uses the churchyard scene to invoke important images: the strength of the elms, death as symbolized by the graves, and the comfort provided by the yews shading bodies that sleep. The poet begins by reflecting that death for the humble and lower class means a cessation of life’s simple pleasures: waking up to the songs of birds, sharing life with a wife and children, and enjoying hard and productive work. Gray reflects not on the untimely death of young people but on the death that comes after a normal life span.
In the next four stanzas (lines 29 to 44), the poet addresses the upper classes—those with ambition, grandeur, power, nobility, and pride—and exhorts them not to mock the poor for their simplicity or for not having elaborate statues on their graveyard memorials. He tells the living upper classes (perhaps the people Gray envisions as his readers) that ultimately it does not matter what glory they achieve or how elaborate a tombstone they will have. They will die just like the poor.
The eight stanzas (lines 45 to 76) that follow provide the central message of the poem: The poor are born with the same natural abilities as members of the upper classes. Who can say what humble people might have accomplished in the great world had they not been constrained by their condition and their innate powers not been frozen by “Chill Penury.” Gray implies that the innocence and beauty of these souls, wasted in their isolated rural environment, and resembling hidden...
(The entire section is 1488 words.)
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