Introduction:
“An Elegy Written in a Country Churchyard' was published in 1751. It brought Gray into lime light and his genius was recognized. Its success was instantaneous and overwhelming. A dignified elegy in classical diction celebrating the graves of humble and unknown villagers was, in itself, such a novelty that all paid attention to it. Its theme that the lives of the rich and poor alike ‘lead but to the grave’ was already familiar. Gray's treatment made all conscious of their foul doings and worldly activities. The elegy had the effect of suggesting that it was not only the rude forefathers of the village he was mourning but the death of all men and of the poet himself. It gave the poem its universal appeal.
Summary of the Poem:
Stanza 1:
The evening bell has warned people to cover their fires, put out their lights, and go to bed. The crying group of animals is going on tract with farmers walking with tired steps leaving all in darkness.
Stanza 2:
There disappears the faint shine and a holy silence suggestive of death dominates the sight. The silence is disturbed by beetles that fly in circle and produce the sound of buzzing. Sleeping animals' bells produce light sound that makes them asleep in the distant enclosures for sheep. At some distance on the tower of the church at Stock Poges is covered with creepers, there shines the moon that disturbs the owl. The sad owl takes rest at a dark place of residing that is disturbed by the moonlight.
Stanza 3:
The poor draws a lively word picture of the churchyard. Under rough hedge trees and trees with thick dark green leaves dry grass moves hither and thither with wind. There are graves decaying to dust. Dead bodies or uneducated villagers are laid in graves. The pleasant morning has no importance for the dead in graves. The poet regards the morning as a person; that is, he personifies morning. Personification is seldom used now, but the eighteenth-century poets delighted in it. It is frequently employed in this poem. No music by birds or alarm by the cock would rouse them from their graves.
Stanza 4:
The poet feels sorry for those farmers who are no more. Now no stove is burnt for them. The housewives do not care for evening duties and children do not wait for their return. They have no wish for kiss. When they were alive they used to cut the harvest with their sickles. Their plough used to break hard soil with their strong attacks. They used to drive their bulls quite happily to their fields.
Stanza 5:
Ambitious people should not laugh at useful labour of these villagers. Their simple joys and dark future ought to be respected. Royal persons should not be scornful to their simple tales of life. The pride of royal birth and show of power, beauty or wealth prove useless for unavoidable moment of death waits equally for all. The ways of worldly progress end in grave.
Stanza 6:
The poet warns those who are proud enough to blame the poor farmers for not having memorials for their dead forefathers. It was the custom to bury the poorer people of a village in the churchyard, and the rich or high-born in the church. But the poet does not regard it a matter to be proud of for all these vain customs or formalities are meaningless. The loud songs of their false praise cannot make them alive. The funeral urns such as were used by the ancients were frequently decorated with scenes from the life of the deceased or life-like statues can't call back the dead man to life. The dead body has no sense to hear speeches of sycophancy made to please the dead.
Stanza 7:
In these poor graves those unfortunate persons' dead bodies are laid who were inspired with divine blessing. They were talented enough to hold the sceptre and rule a state. On getting proper opportunity they might have played on a musical instrument and thrilled the souls of all listeners. They were devoid of scholarship. They were ignorant of the wide range of knowledge and treasure of time. Their discouraging poverty crushed their enthusiasm and disheartened their talent. In this condition they remained uneducated and backward.
Stanza 8:
A number of pearls of true excellence are hidden in unknown and unmeasured caves of the sea, therefore, nobody knows about them and they remain neglected. In the same way there are a number of flowers that fade in desert and there is none to value their beauty and fragrance.
Stanza 9:
The poet imagines that on getting proper opportunity some of these villagers could be great like Hampden. John Hampden was an English patriot who refused to pay taxes levied by the King without the consent of Parliament. He died in 1643 from a wound received while fighting for the liberties of England. His fearless heart showed the power of common men. Some of these villagers could be great poets like Milton. John Milton, the author of Paradise Lost, is generally ranked as the greatest English poet after Shakespeare. Some of these villagers could be great leaders like Cromwell. Oliver Cromwell, the famous Protector, is now regarded by historians in general as one of the foremost champions of English liberty. It was the want of opportunity that these poor villagers could not make progress in life.
Stanza 10:
These villagers had no opportunity for getting praise or holding meeting as member of senate. On getting proper opportunity they also could make emotional fiery speeches against threats to nation and shower blessings on a host of common people. On holding a high post they could see people expressing gratitude to them for their service to nation. But they could not get these opportunities for their ways of making progress were obstructed by their poverty. But the want of opportunity made them deprived of not only worldly progress but also free from evils. They never tried to proceed through wide spread bloodshed. They never tried to be cruel to rule.
Stanza 11:
These farmers were free from the mental conflict to choose between truth and progress by hiding the truth. They were free from the possibility of getting insulted on the discovery of shameful act. They did not erect majestic buildings to lead a life of luxury and take pride in that. They could not be blamed for misusing the scholarship for flattering others. They were devoid of foul deeds of worldly people. They had limited requirements. They were not spoiled by over-ambition. They were free from hustle of worldly life. They led a peaceful life living in contentment.
Stanza12:
To save the dead bodies of poor farmers from being insulted poor graves of clay are always made. With imperfect verse, the poor graves are decorated. The grave requests for a bit of formal sympathy from all the passersby. Their name, their years were spelt by the unlettered Muse. In Greek mythology the Muses were nine goddesses who presided over the arts and sciences, song, and the different kinds of poetry. The true poet was supposed to be inspired by them. Gray imagines a new kind of Muse who inspires the writers of crude epitaphs. Their unrefined poetry becomes an elegy for them. Lines from the Bible are written round the grave to inspire them to die in peace.
Stanza 13:
The poet asks who is not victim of death is and who gives up the life full of joy and sorrow quite willingly. In fact, nobody welcomes death. Everybody dies with desire of living more. Every dying person has faith on a particular friend or relative and hands over his responsibilities to him. The dying person expects some true tears in the eyes of his near and dear ones. Whenever they see his grave, they think about liking and disliking as well as dreams and hopes of the dead. It reminds of the incomplete wishes of the dead.
Stanza 14:
The poet fears that nobody would think about him. Gray refers to himself as the writer of this poem. If perchance by a passing thought a gentle man enquires about his welfare. Perhaps a country gallant or lover would report that in the morning he could be seen walking fast. At sun-set he used to visit a cleared place in a wood, not cultivated. Now, of course, the word always means grassland near a house which is kept closely cut.
Stanza 15:
It would be told about Gray that there at the foot of distant forest tree that decorates its old fantastic roots so high. His dull time at midday he would spend there and look attentively the stream that flows by it. He used to wander in the distant wood, smiling as in scorn, lost in his wayward thoughts he would wander. He was a dull sorrowful man, like one cheerless, or an unfortunate man mad with care, or rejected in hopeless love.
Stanza 16:
He would say that daily he used to see Gray on a hill but one morning he missed him on that hill. Along the open uncultivated ground, and near his favourite forest tree. Another day came but Gray was not seen even beside the stream. Gray was seen neither up the lawn, nor at the wood. The next day with dirges and in sad black mourning clothes he saw some people walking slow through the church-way path. He saw him borne to be buried. He asks those who enquire about Gray to go and read the lines engraved on the stone beneath distant aged thorn-bush.
Stanza 17: The Epitaph
Gray imagines the inscription upon the stone of his grave. In this grave in the lap of earth a young man is taking rest. He was unknown to success and honour. He was blessed with knowledge in general. Knowledge was not angry on his poverty. There was no want of sorrows in his life. His large-heartedness had made him helpful to others. There is no need to go far to know his qualities or weaknesses. After death he has got a place in the bosom of God.
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