Mitford quotes: -''There is many a rich stone laid up in the bowels of the earth, many a fair pearl in the bosom of the sea, that never was seen, nor never shall be.'' - Captiv. 317).". "Henry V. III. 1898]. 1891]. Starr/J.R. "Cp. . 70.6 ingenuous] "Genuine, natural; the ''in'' has [...]" J. Bradshaw, 1903 [1st ed. Mason adds, [...]" H.W. - Henry VIII. 51.3 repressed] "had damp'd   Eton, with [...]" R. Lonsdale, 1969. "J. digging trenches, routing pipes and cables, hands 48.2-4 waked ... ecstasy] "Cf. On February 15 it appeared as a quarto pamphlet under the title An Elegy wrote in a Country Church Yard, together with the following preface by Walpole: 'The following Poem came into my hands by Accident, if the general Approbation with which this little Piece has been spread, may be call'd by so slight a term as Accident. stroke!] (Book v, vol. question and filling in the annotations form with your details. Gerrard, 1999. 1898]. "Referring to their rustic simplicity. This discussion has tried to make clear that all of the evidence is ambiguous and nothing more confident than an assertion of likelihood can be achieved. The pealing anthem swells the note of praise. 61.1-7 The ... command,] "'Edwards, the author of The [...]" J. Crofts, 1948 [1st ed. "The proper sense of bower is any place to be or dwell in; often used in poetry for 'my lady's chamber.' Three copies of the Elegy in Gray's handwriting are still preserved. - Original MS. [Mason [...]" J. Bradshaw, 1903 [1st ed. Poole/L. "Genuine, natural; the ''in'' has not a negative force.". 78.4 still] "Both Dr Bradshaw and Dr [...]" D.C. Tovey, 1922 [1st ed. 1891]. 63.1-7 To ... land,] "Mitford quotes a line from [...]" J. Bradshaw, 1903 [1st ed. Starr/J.R. - Original MS. [Mason MS.]". "A sinister note of approaching darkness in Macbeth, III. own.] "Attend diligently to: cp. Spenser, Faerie Queene VI vii 39, 1, has 'And now she was uppon the weary way'.". as one of the Muses: cp. © 2000 Thomas Gray Archive. [This is the version given by Gray in his instructions to Walpole (T & W no. 'th'accustom'd Oke', Il Penseroso [...]" R. Lonsdale, 1969. ": 1.1-3 The ... tolls] "The passage from Dante quoted [...]" W. Lyon Phelps, 1894. Cp. "There are a number of passages strikingly similar to this. 101.5-8 of ... beech] "Cf. 1898]. 1919]. share.] 1898]. " "Tickell, On the Death of [...]" R. Lonsdale, 1969. But the combination with 'history' makes it hard to exclude the more common modern sense.". G[ray]. "A frequent epithet for the swallow, probably in imitation of Virgil's garrula ... hirundo, Georgics iv 307, translated by Dryden, iv 434: 'Or Swallows twitter on the Chimney Tops'. 1898]. "If there were no comma after ''strife,'' the sense of this couplet would be precisely the opposite of what Gray intended. H.W. 116.6 yon] "that   Fraser MS. with [...]" D.C. Tovey, 1922 [1st ed. Lost iii 88: 'the Precincts of light'.". 63.1-7 To ... land,] "See The Alliance of Education [...]" H.W. - Egerton MS." J. Bradshaw, 1903 [1st ed. The favourable sense of 'melancholy', implying a valuable kind of sensibility, though not found in Johnson's Dictionary, was becoming fashionable at this time. also Dart, Westminster Abbey I iv, xii (see ll. The ploughman homeward plods his weary way. - Mason MS.". in the British Museum. "[Fraser MS. gives] for homely [...] rustic.". "Nor C[ommonplace] B[ook], E[ton College MS.], Wh[arton MS.].". ''See Cromwell damned to everlasting fame,'' Pope, Essay on Man, iv. CB has Rod in the margin.". 116.8 thorn.'] 123.5-9 all ... tear,] "Gray here translates himself; the [...]" D.C. Tovey, 1922 [1st ed. The sense which 'wistly' bears in two passages of Shakespeare (in whom alone and in the Passionate Pilgrim the word has been found) is 'attentively,' 'with scrutiny,' and this sense Skeat thinks may have arisen out of that of wisly. Many of the difficulties in the interpretation of the poem can be clarified if the two versions are examined in turn. Milton uses the word, Par. 1919]. "Cp. "Nor seek to draw them   Eton, with think written above seek.". Cf. 10[1]-10[4] instead of before them. Licensed under . "On the high brow of [...]" E. Gosse, 1884. grave.] "In E[ton College MS.] the [...]" H.W. lawn.] If Memory o'er their tomb no trophies raise, Where through the long-drawn aisle and fretted vault. Madding occurs in ''Paradise Lost'': - ''the madding wheels / Of brazen chariots raged.'' "The rimes in this stanza [...]" W. Lyon Phelps, 1894. Hendrickson, 1966. "This quatrain seems to have [...]" R. Lonsdale, 1969. First printed as a pamphlet by Horace Walpole in 1751.". Starr/J.R. 1891]. [...]" D.C. Tovey, 1922 [1st ed. "Or Chaunticleer so shrill or echoing Horn   Fraser MS.". Starr/J.R. Virgil, Georgics iii 34: Stabunt et Parii lapides, spirantia signa (Here too shall stand Parian marbles, statues that breathe); and Aeneid vi 847-8: excudent alii spirantia mollius aera, / (credo equidem), vivos ducent de marmore voltus (Others, I doubt not, shall beat out the breathing bronze with softer lines; shall from marble draw forth the features of life); and Pope, Temple of Fame 73: 'Heroes in animated Marble frown'. Horace, Odes IV iii 1-2: Quem tu, Melpomene, semel / nascentem placido lumine videris (Whom thou, Melpomene, hast once beheld with favouring gaze at his natal hour).". "Three MSS of the Elegy have survived. "Lycidas 25-6: 'ere the high [...]" R. Lonsdale, 1969. 1891]. lyre.] 1891]. The word continued to be applied to an evening bell long after the law for putting out fires ceased, but it is not now so used, and the word would have become obsolete but for Gray's use of it here, and when one speaks of the curfew one thinks of the first line of the ''Elegy.'' "Perhaps in imitation of Ovid, Metamorphoses v 550: ignavus bubo (slothful owl). in the language my mother taught me—in every language as worn as my father’s cutting sugarcane Gray took ample pains in the long run that the world should know what he had really written.". Blanco’s inaugural poem, “One Today,” was and is a celebration of the shared American experience, an experience made possible not despite but because of our diverse individual histories and cultural backgrounds. 1898]. But, if the bracket should be removed, it is indispensable that we should return to the reading 'With gestures quaint' (l. 109 [105]) of Fraser MS. For it is obvious that Gray wrote 'Hard by yon wood' instead of it, when he had made up his mind to excise this stanza, yet saw that ll. Poole/L. 91.1-9 Ev'n ... cries,] "Some lines in the Anthologia [...]" D.C. Tovey, 1922 [1st ed. unknown.] Agrippina 77 (p. 36); and 'While listening senates hang upon thy tongue', Thomson, Autumn 15, and 'the listening senate', Winter 680; and Akenside, To Sleep 34-7: 'The rescued people'd glad applause, / The listening senate and the laws / Bent on the dictates of Timoleon's tongue, / Are scenes too grand for fortune's private ways.'". A second copy was sent to Wharton and is among the Egerton MSS. "Warm, creative. "Nor seek to draw them from their dread abode. Virgil, Georgics i 94: [...]" R. Lonsdale, 1969. His enthusiasm for the Elegy when he was shown it in 1750 makes it hard to believe that he had already seen its most memorable stanzas and had been content for some four years not to pester G. to finish and publish it. 33-6 n): 'there is some thing of compassion due to extinguisht vertue, and the loss of many ingenuous, elaborate, and useful Works, and even the very names of some, who having perhaps been comparable to Homer for Heroic Poesy, or to Euripides for Tragedy, yet nevertheless sleep inglorious in the croud of the forgotten vulgar.'". 108-09, commented on the Eton MS: 'In the first manuscript copy of this exquisite Poem, I find the conclusion different from that which he afterwards composed'. 'If case some one of you would fly from us' (3 Henry VI. 1898]. For thee, who mindful of the unhonoured dead. 1891]. Smyth, Greek Grammar, sec. uses the conventional epithet ironically.". / . 1891]. "The translation (by Nott) of [...]" J. Bradshaw, 1903 [1st ed. Back to its mansion call the fleeting breath? Annus Mirabilis 1021-4, a quatrain which G[ray]. "Cf. fires.] 1898]. War is the main theme of the poem, which naturally leads to death — while the theme of death is interwoven with the theme of war. As Professor Hales says ''reading was not such a common accomplishment that it could be taken for granted.'' Wakefield [...]" J. Bradshaw, 1903 [1st ed. soul.] 22.7 care:] "Responsibility, (domestic) duties, imitating Latin [...]" R. Lonsdale, 1969. 'It went through four editions in two months,' Gray noted, 'and afterwards a fifth, sixth, seventh, eighth, ninth, tenth, and eleventh; printed also in 1753 with Mr. Bentley's Designs, of which there is a second edition; and again by Dodsley in his Miscellany, vol. 41.5 animated] "life-like." 59.4 Milton] "Tully. 27.8 afield!] lawn.] Boswell's Johnson, 1775, aetat. onto the steps of our museums and park benches Gray may have remembered the 'ignavus bubo' of Ovid, Metamorphoses, v. 550; but we will credit him with sufficient observation to have discovered independently that the owl 'mopes.' 105.6 smiling] "frowning   edd 1-2, 6-7, [...]" R. Lonsdale, 1969. See also Collins, The Passions 25. 1898]. For me, the poem’s final phrase “to name it — together” predicts the creation of an entirely new word for “Hope”, a word that emerges from a fusion of English, Spanish, and other immigrant languages. General Wolfe is said to have declaimed it to his officers on the eve of the battle of Quebec, and to have added: 'I would prefer being the author of that Poem to the glory of beating the French tomorrow.' Cowley has 'noble rage' in Davideis Bk iv; and see Pope, Windsor Forest 291: 'Here noble Surrey felt the sacred Rage'; and Prologue to Cato 43: 'Be justly warm'd with your own native rage'; and Collins, The Passions 111. bed.] Hendrickson, 1966. Why, if G. had already written at least the first version of the poem, did he show Walpole only some twelve lines of it? 1898]. 1898]. Writers on other aspects of the Elegy have so often adopted a dating merely to suit a particular argument that a full statement of the relevant considerations is perhaps still desirable. 1898]. The 'pictured urn' of Progress of Poesy, l. 109, which Dr Bradshaw here compares is quite a different thing.". Cp. that we must all die! Starr/J.R. Hendrickson, 1966. 30.2 homely] "rustic   Eton." Supp. Of the third, the MS. at Pembroke College, Cambridge, I made such memorands as a brief opportunity admitted. "Cp. 30.2 homely] "[Fraser MS. gives] for homely [...]" D.C. Tovey, 1922 [1st ed. "Mallet, Excursion i 272-5, in [...]" R. Lonsdale, 1969. 1891]. "After this verse, in the [...]" E. Gosse, 1884. "Mason (Poems p. 110) wrote: 'I rather wonder that he rejected this stanza, as it not only has the same sort of Doric delicacy, which charms us peculiarly in this part of the Poem, but also compleats the account of his whole day: whereas, this Evening scene being omitted, we have only his Morning walk, and his Noon-tide repose.' / Or Fame, young Ammon, thy cold Ashes cheer?'". 62.1-8 The ... despise,] "Cp. "Gray's manuscript included here the [...]" J. Heath-Stubbs, 1981. / His manners greatly plain; a noble grace, / Self-taught, beyond the reach of mimic art, / Adorn'd him: his calmer temper winning mild; / Nor pity softer, nor was truth more bright. "And buried ashes glow with [...]" J. Bradshaw, 1903 [1st ed. Hauntingly beautiful. "Gray's manuscript included here the following stanza: 100.8 lawn.] published in 1755; but in editions of 1753 and 1768, for the text of which Gray has some responsibility, we have 'awaits,' as well as in every copy in his handwriting.". "Addison, Account of the Greatest English Poets 30-1: 'But when we look too near, the shades decay, / And all the pleasing landscape fades away'; and David Mallet, The Excursion (1728) i 235-7: '... th'aerial landscape fades. Langhorne's next review was of Edward Jerningham's The Nunnery, an Elegy, in Imitation of the Elegy in a Churchyard.". "Wrote   Eton, with Graved carved written above.". iv. "Village struck through by Gray and Hamlet written over it in Fraser MS.". 67-72): flumina amem silvasque inglorius (may I love the waters and the woods, though fame be lost). Education and Government 17-18 [...]" R. Lonsdale, 1969. 1898]. / Or Tully listen in his Urn to Praise? "A clarion is a wind instrument, a kind of trumpet, with a shrill sound, from Lat. 1891]. H.W. We pursue our several ambitions as if unconscious of our doom, it is the hour that awaits us; if we awaited the hour we should be less absorbed in our aims. Stokes, Times Lit. 126.1 - 127.7 Or ... repose)] "Nor seek (think above) to [...]" D.C. Tovey, 1922 [1st ed. 87.4 precincts] "This word, and the phrase [...]" W. Lyon Phelps, 1894. Gray's letter to Walpole, Sept., 1737, p. 93, line 18 ff.". 116.7 aged] "ancient   Eton; aged   [...]" R. Lonsdale, 1969. But the worst of an affectation pushed as far as he pushed it, is that it leads to much bewilderment, and a good deal of superfluous lying. behind?] Wakefield quotes from Horace: - ''Quem tu, Melpomene, seme! 201; Dryden, Georgics iii 638-9: 'Take, Shepherd take, a plant of stubborn Oak; / And labour him with many a sturdy stroke'; and 'And stood the sturdy Stroaks of lab'ring Hinds', Dryden, Aeneid ii 847.". Gray is thinking of possible statesmen and warriors, as well as poets; although it is of poetic inspiration that the word was commonly used in a good sense. - Original MS. [Mason [...]" J. Bradshaw, 1903 [1st ed. thorn.'] / 'Tis art, and knowledge, which draw forth / The hidden seeds of native worth'. 1898]. 96-113; F. W. Bateson, English Poetry: A Critical Introduction (1950) pp. "silent   Eton, with noiseless written above.". Is this mere coincidence?". It occurs frequently in Shakespeare, and Milton uses it twice, - ''Comus,'' 435, and in the well-known lines in ''Il Penseroso'': - ''I hear the far-off curfew sound / Over some wide-watered shore.'' In the first edition the line read 'Awake, and faithful to her wonted Fires'.". It is not only one light, but “one wind”—the breath that both forms and carries our words to each other—that joins us as a people. 19.1-8 The ... horn,] "Or Chaunticleer so shrill or [...]" D.C. Tovey, 1922 [1st ed. contributions will be submitted to the editor in the first instance 110.1-3 'Along ... heath] "the reference is to the [...]" J. Bradshaw, 1903 [1st ed. "Wrote with Graved carved written above, E[ton College MS.].". whom every gift of heaven / Profusely blest: all learning was his own. ""Awaits" is usually explained by [...]" Warren Reier, 2007. 1891]. "In Gray's original draft this [...]" J. Crofts, 1948 [1st ed. capitalization have been largely eliminated, except where of real import. 1891]. "Prior, Solomon iii 319-20: 'can Nature's Voice / Plaintive be drown'd'; Thomson, Liberty iii 122: 'The voice of pleading nature'; Akenside, Pleasures of Imagination ii 357-8: 'the faithful voice of nature'. Hendrickson, 1966. Hendrickson, 1966. A.L. 1891]. Poole/L. 303, 'the trophy'd arches, story'd halls.' Poole/L. 114.3-5 the ... path] "the path leading (from the [...]" J. Bradshaw, 1903 [1st ed. "At the bottom of the [...]" H.W. "Many parallels have been cited for this passage. Alexander Huber, 2000. blood.] 1898]. With l. 3 of this rejected stanza cp. 3. But Gray defines his melancholy to West, May 27, 1742 'Mine, you are to know, is a white Melancholy, or rather Leucocholy for the most part, which though it seldom laughs or dances, nor ever amounts to what one calls Joy or Pleasure, yet is a good easy sort of state' &c. His melancholy was closely connected with his studious retirement, and its nature is exactly fixed in these two lines. & the Rev. 106.5-6 he would] "would he Pembroke and Wharton [...]" A.L. The following Poem came into my hands by Accident, if the general Approbation with which this little Piece has spread, may be call'd by so slight a Term as Accident. 11.7 secret] "sacred Q[uarto]1, Q[uarto]8 [an erratum [...]" H.W. blood.] In the winter of 1749 Gray took it in hand again, at Cambridge, after the death of his aunt, Mary Antrobus. Gray seems to mean 'who ever was so much a prey to dumb Forgetfulness as to resign life and its possibilities of joy and sorrow without some regret?' Title/Paratext] "Gray's Elegy Written in a [...]" Alexander Huber, 2000. It is evident from the swarm of imitations or unconscious echoes which it produced in contemporary poetry that it had charmed the age by its metrical splendour and verbal music quite as much as by its sentiment.". 443. the passage from Roscommon quoted in l. 3 n above.". Examples of this form of sensibility include Thomas Parnell, 'Night-Piece on Death' (publ. "These lines on unfulfilled greatness [...]" R. Lonsdale, 1969. ''And steal (for you can steal) celestial fire.''". This pleasing anxious being e'er resigned. There is also a chapter on the Elegy in John Scott's Critical Essays (1785) pp. - Mason [...]" E. Gosse, 1884. Starr/J.R. 52.4 genial] "This can hardly be taken [...]" W. Lyon Phelps, 1894. "Wild, furious. 1898]. Yet this section of the poem seems certainly to have been written in about 1750. G. himself uses the phrase serventque tenorem in his Latin Verses at Eton (p. 290). "Although nearly all the editors state that as a fact that the Elegy was begun in 1742, there seems to be no actual basis for this statement. "the path leading (from the main road) to the church. "'its' refers to the 'fleeting [...]" Johan Schimanski, 2001. "For ever sleep; the breezy call of Morn, / Or swallow, etc. "After l. 72 in E[ton [...]" H.W. after Mitford, Petrarch [Sonetto [...]" D.C. Tovey, 1922 [1st ed. 105.1-4 'Hard ... wood,] "With gestures quaint. 36.2-5 paths ... lead] "Here again there is the [...]" D.C. Tovey, 1922 [1st ed. 22.3 housewife] "Hus-wife. 1919]. "These two stanzas are now inscribed on the large and unsightly memorial to Gray, which stands close by the church-yard in Stoke Park.". Starr/J.R. Pope, [...]" R. Lonsdale, 1969. so my brother and I could have books and shoes. breathing color into stained glass windows, G[ray]. for each other all day, saying: hello| shalom, G[ray]. 1891]. "In Eton ll. For 'their team', cp. 1891]. We observe even among the vulgar, how fond they are to have an inscription over their grave. unknown.] "In Hayley's ''Life of Crashaw,'' in the Biographia Britannica, it is said that this line is ''literally translated from the Latin prose of Bartholinus in his Danish Antiquities.''". of footsteps, guitars, and screeching subways, 59.4 Milton] "Tully   Eton." Whibley, 1950 [1st ed. Spenser's description of an oak, Ruins of Rome 381-2, 384: 'Lifting to heaven her aged hoarie head, / Whose foote in ground hath left but feeble holde ... / Shewing her wreathed rootes, and naked armes'; and As You Like It II i 30-2 (of Jacques): 'he lay along / Under an oak whose antique root peeps out / Upon the brook that brawls along this wood.' Once, as Bradshaw notes, in Milton, P. L. VI. 1919]. But would not Gray have told Walpole this, and would not Walpole, whose own impressions receive much confirmation from Gray's hints to Wharton in 1746, have recollected it?If, as seems probable, Gray gave Walpole these opening stanzas not by letter, but when the reconciled friends were together, whether in '45 or in the summer of '46, when he was at Stoke and 'seeing Walpole a great deal' (to Wharton Aug. [13] 1746), Walpole would have no documentary evidence to oppose to Mason's representations whatever they may have been, and might easily have been induced by a man more conceited and obstinate than himself to mistrust his memory of what had happened twenty-seven years before. Mark Pattison observes of Pope, that 'in estimating historical characters he seems to have been without any proper standard, and wholly at the mercy of prevailing social prejudices.' 29.6 useful] "Fraser MS. suggests in margin [...]" D.C. Tovey, 1922 [1st ed. See also Fourdrinier's frontispiece to Robert Dodsley's A Muse in Livery (1732) which depicts the poet reaching vainly up towards Happiness, Virtue and Knowledge, one hand being chained by Poverty to Misery, Folly and Ignorance, and one foot weighted down with Despair.". "'There has always appeared to me a vicious mixture of the figurative with the real in this admired passage. "With gestures quaint. Pattison says this is a Miltonic epithet misapplied - since it can only mean 'halls famed in story.' "After this, Gray's manuscript included the following stanza: 116.3 the] "his F[oulis edition, 1768]." Turnbull, p. 38): ''Far from the madding worldling's hoarse discords.''". 109.3 I] "We. 5.1 - 8.7 Now ... folds;] "This is a bit of [...]" W. Lyon Phelps, 1894. "the subject of the verb is the 'hour'. [...] Cp. ''aeriumque tenent otia dia polum.'' 1898]. 1891]. "Cp. 12.1-3 Molest ... ancient] "& pry into (over) Fraser [...]" D.C. Tovey, 1922 [1st ed. [...]" D.C. Tovey, 1922 [1st ed. "The contents of the epitaphs on the tombs of the great.". flame.] Poole/L. "In August 1746 Gray writes to Wharton from Stoke, ''The Muse, I doubt, is gone, and has left me in far worse company; if she returns, you will hear of her.'' 82.6 elegy] "Epitaph   Eton, Commonplace Book." air.] Hendrickson, 1966. 11, 96, 105. H.W. Hendrickson, 1966. 1898]. Thomson's panegyric of England's 'sons of glory' in Summer 1488-91, 1493, includes: 'a steady More, / Who, with a generous though mistaken zeal, / Withstood a brutal tyrant's useful rage; / Like Cato firm ... / A dauntless soul erect, who smiled on death.' "Tovey cites Addison, Spectator No. "From the original manuscript, now preserved at Eton College, it appears that for Hampden he first wrote 'Cato', for Milton 'Tully', and for Cromwell 'Caesar'. 72 ff. 115.4-7 (for ... read)] "Mr. Hales considers that these [...]" J. Bradshaw, 1903 [1st ed. "Thus in Fraser MS.:And at [...]" D.C. Tovey, 1922 [1st ed. Whibley, 1950 [1st ed. God.] "After this verse, in the original manuscript of the poem, are the four following stanzas: 72.1 With] "Burn (del) E[ton College MS.]." Variants are given from the three MSS, the quarto edns printed by Dodsley (of which G. significantly 'corrected' the 3rd and 8th, although changes occur in other edns and G.'s 'correction' did not remove all errata), Dodsley's Collection iv (1755), and the Foulis edn of the 1768 Poems.". No bashful merit sighed / Near him neglected: sympathising he / Wiped off the tear from sorrow's clouded eye / With kindly hand, and taught her heart to smile.'