Elegy Written in a Country Churchyard

by Thomas Gray

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.

Summary of Elegy Written in a Country Churchyard

Understanding ‘Elegy Written in a Country Churchyard’: Penned by Thomas Gray, a celebrated English poet, scholar, and professor, this poem first appeared in 1751. While it appears as a narrative, it’s fundamentally a lyrical poem, deeply concerned with themes of death and mortality. It’s a lament for all those who have passed, especially those of humble origins, and a reflection on the inequalities of life and death.
Central Themes and Narrative: The poem centers around the speaker’s reflections while wandering through a rural churchyard. He contemplates the lives of the villagers buried there, imagining their simple joys and quiet struggles. The speaker acknowledges that these individuals, despite their lack of fame or fortune, possessed potential and virtue. The poem explores the idea that greatness isn’t solely determined by social status or achievement, and that even the obscure deserve recognition and respect. He contrasts their unassuming lives with the grand ambitions and often empty pursuits of the wealthy and powerful. The speaker then shifts to a personal note, pondering his own mortality and hoping that someone will remember him with kindness.
Key Ideas: The poem highlights the universality of death, the value of humility, and the importance of acknowledging the inherent dignity of every human life. It subtly critiques social hierarchies and suggests that true worth isn’t measured by wealth or fame. Ultimately, it’s a poignant meditation on life, death, and the enduring power of memory.

Analysis of Literary Devices in “Elegy Written in a Country Churchyard”

Writers and poets use literary devices to enhance expression, evoke emotions, and convey ideas effectively. Thomas Gray masterfully employs numerous such devices throughout his poem. Here’s a detailed analysis:

Assonance: The repetition of vowel sounds within words. For example, “The curfew tolls the knell of parting day” uses the long ‘o’ sound, creating a musical quality and emphasizing certain words.
Consonance: The repetition of consonant sounds. Notice the repetition of ‘r’ in “The plowman homeward plods his weary way,” lending a subtle resonance to the lines.
Alliteration: The repetition of initial consonant sounds. For example, “The curfew tolls the knell of parting day” and “The plowman homeward plods his weary way” add emphasis and memorability.
Imagery: The use of vivid language to create mental pictures. Lines like “The lowing herd wind slowly o’er the lea” and “The plowman homeward plods his weary way” evoke strong visual images.
Personification: Giving human qualities to inanimate objects. “Let not Ambition mock their useful toil” and “Nor Flatt’ry soothe the dull cold ear of Death” are examples of this technique, adding depth and emotional impact.
Enjambment: The continuation of a sentence or phrase from one line to the next without punctuation. This creates a flowing rhythm and mimics natural speech. For instance:
“The next with dirges due in sad array
Slow thro’ the church-way path we saw him borne.”

Analysis of Poetic Devices in “Elegy Written in a Country Churchyard”

Poetic devices are tools specifically used in poetry to create rhythm, enhance meaning, and evoke emotions. Here’s an examination of those employed in this poem:

Stanza: The poem is composed of thirty-two stanzas, each a distinct unit of thought.
Quatrain: Each stanza consists of four lines, a poetic form known as a quatrain.
Rhyme Scheme: The poem consistently follows an ABAB rhyme scheme, contributing to its musicality and coherence.
End Rhyme: The use of rhyming words at the end of lines creates a sense of closure and reinforces the poem’s rhythm. Examples include “array/lay,” “dawn/lawn,” and “hide/pride.”

Quotes to Consider

These lines are particularly suitable for use in speeches or discussions about life, humility, and the importance of remembering those who have passed.

“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.”

This excerpt beautifully captures the poem’s central theme of acknowledging the value of all lives, regardless of social standing or achievement.