Emily Dickinson - Poems

Two Butterflies went out at Noon (533)
by Emily Dickinson, 1830 - 1886

Two Butterflies went out at Noon

And waltzed above a Farm

Then stepped straight through the Firmament

And rested on a Beam

And then

together bore away

Upon a shining Sea

Though never yet, in any Port

Their coming mentioned - be

If spoken by the distant Bird

If met in Ether Sea

By Frigate, or by Merchantman

No notice - was - to me.

A Bird, came down the Walk (359)

by Emily Dickinson, 1830 - 1886

A Bird, came down the Walk -

He did not know I saw -

He bit an Angle Worm in halves

And ate the fellow, raw,

And then, he drank a Dew

From a convenient Grass -

And then hopped sidewise to the Wall

To let a Beetle pass -

He glanced with rapid eyes,

That hurried all abroad -

They looked like frightened Beads, I thought,

He stirred his Velvet Head. -

Like one in danger, Cautious,

I offered him a Crumb,

And he unrolled his feathers,

And rowed him softer Home 

Than Oars divide the Ocean,

Too silver for a seam,

Or Butterflies, off Banks of Noon,

Leap, plashless as they swim.

The morns are meeker than they were (32)

by Emily Dickinson, 1830 - 1886

The morns are meeker than they were -

The nuts are getting brown -

The berry’s cheek is plumper -

The rose is out of town.

The maple wears a gayer scarf -

The field a scarlet gown -

Lest I sh'd be old-fashioned

I’ll put a trinket on.

Banish Air from Air (963)

by Emily Dickinson, 1830 - 1886

Banish Air from Air -

Divide Light if you dare -

They'll meet

While Cubes in a Drop

Or Pellets of Shape

Fit -

Films cannot annul

Odors return whole

Force Flame

And with a Blonde push

Over your impotence

Flits Steam.

I started Early – Took my Dog (656)

by Emily Dickinson, 1830 - 1886

I started Early – Took my Dog –

And visited the Sea –
The Mermaids in the Basement
Came out to look at me –

And Frigates – in the Upper Floor
Extended Hempen Hands –
Presuming Me to be a Mouse –
Aground – opon the Sands –

But no Man moved Me – till the Tide
Went past my simple Shoe –
And past my Apron – and my Belt
And past my Boddice – too –

And made as He would eat me up –
As wholly as a Dew
Opon a Dandelion's Sleeve –
And then – I started – too –

And He – He followed – close behind –
I felt His Silver Heel
Opon my Ancle – Then My Shoes
Would overflow with Pearl –

Until We met the Solid Town –
No One He seemed to know –
And bowing – with a Mighty look –
At me – The Sea withdrew –

Emily Dickinson, poet

Biography

by Poetry.Org

Emily Dickinson was born on December 10, 1830, in Amherst, Massachusetts. She attended Mount Holyoke Female Seminary in South Hadley, but only for one year. Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry. She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia. He left for the West Coast shortly after a visit to her home in 1860, and some critics believe his departure gave rise to the heartsick flow of verse from Dickinson in the years that followed. While it is certain that he was an important figure in her life, it is not clear that their relationship was romantic—she called him “my closest earthly friend.” Other possibilities for the unrequited love that was the subject of many of Dickinson’s poems include Otis P. Lord, a Massachusetts Supreme Court judge, and Samuel Bowles, editor of the Springfield Republican.

Emily Dickinson

By the 1860s, Dickinson lived in almost complete isolation from the outside world, but actively maintained many correspondences and read widely. She spent a great deal of this time with her family. Her father, Edward Dickinson, was actively involved in state and national politics, serving in Congress for one term. Her brother, Austin, who attended law school and became an attorney, lived next door with his wife, Susan Gilbert. Dickinson’s younger sister, Lavinia, also lived at home for her entire life in similar isolation. Lavinia and Austin were not only family, but intellectual companions for Dickinson during her lifetime.

Dickinson’s poetry was heavily influenced by the Metaphysical poets of seventeenth-century England, as well as her reading of the Book of Revelation and her upbringing in a Puritan New England town, which encouraged a Calvinist, orthodox, and conservative approach to Christianity.

She admired the poetry of Robert and Elizabeth Barrett Browning, as well as John Keats. Though she was dissuaded from reading the verse of her contemporary Walt Whitman by rumors of its disgracefulness, the two poets are now connected by the distinguished place they hold as the founders of a uniquely American poetic voice. While Dickinson was extremely prolific as a poet and regularly enclosed poems in letters to friends, she was not publicly recognized during her lifetime. The first volume of her work was published posthumously in 1890 and the last in 1955. She died in Amherst in 1886.

Upon her death, Dickinson’s family discovered forty handbound volumes of nearly 1,800 poems, or “fascicles” as they are sometimes called. Dickinson assembled these booklets by folding and sewing five or six sheets of stationery paper and copying what seem to be final versions of poems. The handwritten poems show a variety of dash-like marks of various sizes and directions (some are even vertical). The poems were initially unbound and published according to the aesthetics of her many early editors, who removed her unusual and varied dashes, replacing them with traditional punctuation. The current standard version of her poems replaces her dashes with an en-dash, which is a closer typographical approximation to her intention. The original order of the poems was not restored until 1981, when Ralph W. Franklin used the physical evidence of the paper itself to restore her intended order, relying on smudge marks, needle punctures, and other clues to reassemble the packets. Since then, many critics have argued that there is a thematic unity in these small collections, rather than their order being simply chronological or convenient. The Manuscript Books of Emily Dickinson (Belknap Press, 1981) is the only volume that keeps the order intact.

Selected Bibliography

Poetry

The Gorgeous Nothings: Emily Dickinson’s Envelope Poems (New Direction, 2013)

Final Harvest: Emily Dickinson’s Poems (Little, Brown, 1962)

The Complete Poems of Emily Dickinson (Little, Brown, 1960)

Bolts of Melody: New Poems of Emily Dickinson (Harper & Brothers, 1945)

Unpublished Poems of Emily Dickinson (Little, Brown, 1935)

Further Poems of Emily Dickinson: Withheld from Publication by Her Sister Lavinia (Little, Brown, 1929)

The Complete Poems of Emily Dickinson (Little, Brown, 1924)

The Single Hound: Poems of a Lifetime (Little, Brown, 1914)

Poems: Third Series (Roberts Brothers, 1896)

Poems: Second Series (Roberts Brothers, 1892)

Poems (Roberts Brothers, 1890)

Prose

Emily Dickinson Face to Face: Unpublished Letters with Notes and Reminiscences (Houghton Mifflin Company, 1932)

Letters of Emily Dickinson (Roberts Brothers, 1894)

Edna St. Vincent Millay - Poems

To a Young Poet

by Edna St. Vincent Millay, 1892-1950

Time cannot break the bird’s wing from the bird.

Bird and wing together

Go down, one feather.

No thing that ever flew,

Not the lark, not you,

Can die as others do.

God's World

by Edna St. Vincent Millay, 1892-1950

O world, I cannot hold thee close enough!

Thy winds, thy wide grey skies!

Thy mists, that roll and rise!

Thy woods, this autumn day, that ache and sag

And all but cry with colour! That gaunt crag

To crush! To lift the lean of that black bluff!

World, World, I cannot get thee close enough!

Long have I known a glory in it all,

But never knew I this; 

Here such a passion is

As stretcheth me apart,—Lord, I do fear

Thou’st made the world too beautiful this year;

My soul is all but out of me,—let fall

No burning leaf; prithee, let no bird call.



“Time does not bring relief; you all have lied”

by Edna St. Vincent Millay, 1892-1950

Time does not bring relief; you all have lied

Who told me time would ease me of my pain!
I miss him in the weeping of the rain;
I want him at the shrinking of the tide;
The old snows melt from every mountain-side,
And last year’s leaves are smoke in every lane;
But last year’s bitter loving must remain
Heaped on my heart, and my old thoughts abide.
There are a hundred places where I fear
To go,—so with his memory they brim.
And entering with relief some quiet place
Where never fell his foot or shone his face
I say, “There is no memory of him here!”
And so stand stricken, so remembering him.



“I think I should have loved you presently”

by Edna St. Vincent Millay, 1892-1950

I think I should have loved you presently,

And given in earnest words I flung in jest;
And lifted honest eyes for you to see,
And caught your hand against my cheek and breast;
And all my pretty follies flung aside
That won you to me, and beneath your gaze,
Naked of reticence and shorn of pride,
Spread like a chart my little wicked ways.
I, that had been to you, had you remained,
But one more waking from a recurrent dream,
Cherish no less the certain stakes I gained,
And walk your memory’s halls, austere, supreme,
A ghost in marble of a girl you knew
Who would have loved you in a day or two.



“What lips my lips have kissed, and where, and why”

by Edna St. Vincent Millay, 1892-1950

What lips my lips have kissed, and where, and why,

I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts tonight, that tap and sigh
Upon the glass and listen for reply,
And in my heart there stirs a quiet pain
For unremembered lads that not again
Will turn to me at midnight with a cry.
Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.

Artist: Lawrence Ferlinghetti, Title: Edna St. Vincent Millay

Bio - Poetry Foundation

More Poems by the poet - http://www.poetryfoundation.org/bio/edna-st-vincent-millay#about

Bio - Wikipedia - Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American lyrical poet and playwright. She received the Pulitzer Prize for Poetry in 1923, the third woman to win the award for poetry, and was also known for her feminist activism and her many love affairs. She used the pseudonym Nancy Boyd for her prose work. The poet Richard Wilbur asserted, "She wrote some of the best sonnets of the century."

Arthur Davison Ficke reading to Edna St. Vincent Millay

R.E. Slater - Daily Beast

Faust's own devil

Daily Beast

by R.E. Slater

I lust for peace,

No peace I gain,

My burden's beast,

Rides alone its tasks.

From dawning's sun,

Til' evening's shrouds,

Prostrate, succumbed,
By grave's mauling plumbs.

Homeward bound the rose line seethes,

Nor windward bonds stays the golden fleece,

No harbor's lights, no anvil's sounds,

What scatters one now scatters all.

When tinker's damn fails its rues,

And speech slips silent upon its ruins,

And I to self make solemn vows,

That desperate men do daily die.

No devil to pay but mine own,

No Faustian bargain but heart and soul,

Each persuading right and wrong,

Each betraying life and song.

Plucked from spirit's winds and chimes,

Ringing siren's song all desperate souls,

Bidding shores of wreck and ruin,

Finding no heaven, no hopes, no dreams.

Dying to self as dying to all,

Mustering courage on failing spirits,

Breaking restraints set broad and wide,

Trembling strong braces set running tides.

Unloosing troubles far and wide,

Unholy thoughts met warring cries,

And there to die in pen and script,

Blood red runs my burden's beast.

- R.E. Slater

August 1, 2015
revised August 3, 6, 2015

@copyright R.E. Slater Publications

all rights reserved

Thomas Gray - Elegy

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.

Biographical links

Poetry Foundation - http://www.poetryfoundation.org/bio/thomas-gray

Encyclopaedia Britannica - http://www.britannica.com/biography/Thomas-Gray-English-poet

Thomas Gray Archive - http://www.thomasgray.org/resources/bio.shtml

Thomas Gray

From Wikipedia, the free encyclopedia

Thomas Gray
Portrait by John Giles Eccardt, 1747–1748
Born	26 December 1716 Cornhill, London, England
Died	30 July 1771 (aged 54) Cambridge, England
Occupation	Poet, historian
Alma mater	Cambridge University

Plaque marking Thomas Gray's birthplace at 39 Cornhill, London

Thomas Gray (26 December 1716 – 30 July 1771) was an English poet, letter-writer, classical scholar and professor at Cambridge University. He is widely known for his Elegy Written in a Country Churchyard, published in 1751.

Contents

  [hide] 

• 1 Early life and education
• 2 Writing and academia
• 3 "Elegy" masterpiece
• 4 Forms
• 5 Death
• 6 Honours
• 7 References
• 8 Further reading
• 9 External links

Early life and education[edit]

Thomas Gray was born in Cornhill, London. His father, Philip Gray, was a scrivener and his mother, Dorothy Antrobus, was a milliner^[1] He was the fifth of 12 children, and the only child of Philip and Dorothy Gray to survive infancy.^[2] He lived with his mother after she left his abusive and mentally unwell father. Gray's mother once saved his life by opening one of his veins with her hands.^[3]

Gray's mother paid for him to go to Eton College where two of his uncles worked: Robert and William Antrobus. Robert became Gray's first teacher and helped inspire in Gray a love for botany and observational science. Gray's other uncle, William, became his tutor.^[4] He recalled his schooldays as a time of great happiness, as is evident in his Ode on a Distant Prospect of Eton College. Gray was a delicate and scholarly boy who spent his time reading and avoiding athletics. He lived in his uncle’s household rather than at college. He made three close friends at Eton: Horace Walpole, son of the Prime Minister Robert Walpole; Thomas Ashton, and Richard West, son of another Richard West who was briefly Lord Chancellor of Ireland. The four prided themselves on their sense of style, sense of humour, and appreciation of beauty. They were called the "quadruple alliance."^[5]

In 1734 Gray went up to Peterhouse, Cambridge.^[6] He found the curriculum dull. He wrote letters to friends listing all the things he disliked: the masters ("mad with Pride") and the Fellows ("sleepy, drunken, dull, illiterate Things"). Intended by his family for the law, he spent most of his time as an undergraduate reading classical and modern literature, and playing Vivaldi andScarlatti on the harpsichord for relaxation.

In 1738 he accompanied his old school-friend Walpole on his Grand Tour of Europe, possibly at Walpole's expense. The two fell out and parted in Tuscany, because Walpole wanted to attend fashionable parties and Gray wanted to visit all the antiquities. They were reconciled a few years later. It was Walpole who later helped publish Gray's poetry. When Gray sent his most famous poem, "Elegy," to Walpole, Walpole sent off the poem as a manuscript and it appeared in different magazines. Gray then published the poem himself and received the credit he was due^[1]

Writing and academia[edit]

Gray began seriously writing poems in 1742, mainly after his close friend Richard West died. He moved to Cambridge and began a self-imposed programme of literary study, becoming one of the most learned men of his time, though he claimed to be lazy by inclination. Gray was a brilliant bookworm, a quiet, abstracted, dreaming scholar, often afraid of the shadows of his own fame.^[7] He became a Fellow first of Peterhouse, and later of Pembroke College, Cambridge. Gray moved to Pembroke after the students at Peterhouse played a prank on him.^[8]

Gray spent most of his life as a scholar in Cambridge, and only later in his life did he begin traveling again. 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. In 1757, he was offered the post of Poet Laureate, which he refused. Gray was so self-critical and fearful of failure that he published only thirteen poems during his lifetime. He once wrote that he feared his collected works would be "mistaken for the works of a flea". Walpole said that "He never wrote anything easily but things of Humour."^[9] Gray came to be known as one of the "Graveyard poets" of the late 18th century, along with Oliver Goldsmith, William Cowper, and Christopher Smart. Gray perhaps knew these men, sharing ideas about death, mortality, and the finality and sublimity of death.

In 1762, the Regius chair of Modern History at Cambridge, a sinecure which carried a salary of £400, fell vacant after the death of Shallet Turner, and Gray's friends lobbied the government unsuccessfully to secure the position for him. In the event, Gray lost out to Lawrence Brockett, but he secured the position in 1768 after Brockett's death.^[10]

"Elegy" masterpiece[edit]

It is believed that Gray began writing his masterpiece, the Elegy Written in a Country Churchyard, in the graveyard of St Giles parish church in Stoke Poges, Buckinghamshire, in 1742. After several years of leaving it unfinished, he completed it in 1750^[11] (see Elegy for the form). The poem was a literary sensation when published by Robert Dodsley in February 1751 (see 1751 in poetry). Its reflective, calm and stoic tone was greatly admired, and it was pirated, imitated, quoted and translated into Latin and Greek; it is still one of the most popular and most frequently quoted poems in the English language.^[12] In 1759 during the Seven Years War, before the Battle of the Plains of Abraham, British General James Wolfe is said to have recited it to his officers, adding: "Gentlemen, I would rather have written that poem than take Quebec tomorrow".

Monument, in Stoke Poges, inscribed with Gray's Elegy

The Elegy was recognised immediately for its beauty and skill.^{[citation needed]} It contains many phrases which have entered the common English lexicon, either on their own or as quoted in other works.^{[citation needed]} These include:

• "The Paths of Glory"
• "Celestial fire"
• "Some mute inglorious Milton"
• "Far from the Madding Crowd"
• "The unlettered muse"
• "Kindred spirit"

"Elegy" contemplates such themes as death and afterlife. These themes foreshadowed the upcoming Gothic movement. It is suggested that perhaps Gray found inspiration for his poem by visiting the gravesite of his aunt, Mary Antrobus. The aunt was buried at the graveyard by the St. Giles' churchyard, which he and his mother would visit. This is the same gravesite where Gray himself was later buried.^[13]

Gray also wrote light verse, including Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes, a mock elegy concerning Horace Walpole's cat. After setting the scene with the couplet "What female heart can gold despise? What cat's averse to fish?", the poem moves to its multiple proverbial conclusion: "a fav'rite has no friend", "[k]now one false step is ne'er retrieved" and "nor all that glisters, gold". (Walpole later displayed the fatal china vase (the tub) on a pedestal at his house in Strawberry Hill.)

Gray’s surviving letters also show his sharp observation and playful sense of humour. He is well known for his phrase, "where ignorance is bliss, 'tis folly to be wise." The phrase, from Ode on a Distant Prospect of Eton College, is possibly one of the most misconstrued phrases in English literature. Gray is not promoting ignorance, but is reflecting with nostalgia on a time when he was allowed to be ignorant, his youth (1742). It has been asserted that the Ode also abounds with images which find "a mirror in every mind".^[14] This was stated by Samuel Johnson who said of the poem, "I rejoice to concur with the common reader ... The Church-yard abounds with images which find a mirror in every mind, and with sentiments to which every bosom returns an echo".^[1] Indeed, Gray's poem follows the style of the mid-century literary endeavor to write of "universal feelings."^[15] Samuel Johnson also said of Gray that he spoke in "two languages". He spoke in the language of "public" and "private" and according to Johnson, he should have spoken more in his private language as he did in his "Elegy" poem.^[16]

Forms

The Hours by Maria Cosway, an illustration to Gray's poem Ode on the Spring, referring to the lines "Lo! where the rosy-bosomed Hours, Fair Venus' train, appear"

Gray considered his two Pindaric odes, The Progress of Poesy and The Bard, as his best works. Pindaric odes are to be written with fire and passion, unlike the calmer and more reflective Horatian odes such as Ode on a distant Prospect of Eton College. The Bard tells of a wild Welsh poet cursing the Norman king Edward I after his conquest of Wales and prophesying in detail the downfall of the House of Plantagenet. It is melodramatic, and ends with the bard hurling himself to his death from the top of a mountain.

When his duties allowed, Gray travelled widely throughout Britain to places such as Yorkshire, Derbyshire, and Scotland in search of picturesque landscapes and ancient monuments. These elements were not generally valued in the early 18th century, when the popular taste ran to classical styles in architecture and literature, and most people liked their scenery tame and well-tended. Some^[who?] have seen Gray’s writings on this topic, and the Gothic details that appear in his Elegy and The Bard as the first foreshadowing of the Romantic movement that dominated the early 19th century, when William Wordsworth and the other Lake poets taught people to value the picturesque, the sublime, and the Gothic.^{[citation needed]} Gray combined traditional forms and poetic diction with new topics and modes of expression, and may be considered as a classically focused precursor of the romantic revival.^{[citation needed]}

Gray's connection to the Romantic poets is vexed. In the prefaces to the 1800 and 1802 editions of Wordsworth's and Samuel Taylor Coleridge's Lyrical Ballads, Wordsworth singled out Gray's "Sonnet on the Death of Richard West" to exemplify what he found most objectionable in poetry, declaring it was

"Gray, who was at the head of those who, by their reasonings, have attempted to widen the space of separation betwixt prose and metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction."^[17]

Gray wrote in a letter to West, that "the language of the age is never the language of poetry."^[17]

Death

Tomb of Thomas Gray in Stoke Poges Churchyard

Gray died on 30 July 1771 in Cambridge, and was buried beside his mother in the churchyard of Stoke Poges, the setting for his famous Elegy. His grave can still be seen there.

Honours

• Gray's biographer William Mason erected a monument to him, designed by John Bacon the Elder, in Poets' Corner at Westminster Abbey in 1778.^[18]
• John Penn "of Stoke" had a memorial to Gray installed in the churchyard and engraved with the "Elegy".
• A plaque in Cornhill marks his birthplace.