"Richard Blackmore, 'On Fame', Poems [...]" R. Lonsdale, 1969.

Composite poetry Cinetropolis Poem of the week Canada by Katherine Stansfield

"Richard Blackmore, 'On Fame', Poems [...]" R. Lonsdale, 1969.

"Gray probably took this expression from Paradise Lost, III. 88, the only place in Milton's poems where 'precincts' occurs: 'Not far off Heaven in the precincts of light.' Bradshaw.
Note that Milton accentuates the word on the last syllable, Gray, in modern fashion, on the first."

" ['']Advertisement. The following Poem [...]" D.C. Tovey, 1922 [1st ed. 1898].

"Richard Blackmore, 'On Fame', Poems [...]" R. Lonsdale, 1969.

"Gray's Elegy Written in a Country Churchyard is probably the best-known example of 'graveyard-poetry', the common term applied to the melancholy, meditative lyric poems of 18th c. writers, often set in graveyards, exploring the theme of human mortality and bereavement. Examples of this form of sensibility include Thomas Parnell, 'Night-Piece on Death' (publ. 1721), Elizabeth Carter, 'Ode to Melancholy' (1739), Edward Young, Night Thoughts (1742-46), Robert Blair, The Grave (1743), James Hervey, Meditations among the Tombs (1746-47), Thomas Warton, The Pleasures of Melancholy (1747), and James Thomson, The Castle of Indolence (1748)."

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"And here may be the best place to note after Dr Phelps that the 'whole atmosphere of Collins's Ode is similar to that of the Elegy. Cf. especially stanza 10,

''And hamlets brown, and dim-discovered spires,
And hears their simple bell, and marks o'er all
Thy dewy fingers draw
The gradual dusky veil.'' '
Dr Phelps notes also that Joseph Warton's verses contain some of Gray's pictures, and something of the same train of thought: e.g.:
''Hail, meek-eyed maiden, clad in sober grey,
Whose soft approach the weary woodman loves,
As homeward bent to kiss his prattling babes
Jocund he whistles through the twilight groves.''
add:
''Now every Passion sleeps; desponding Love,
And pining Envy, ever-restless Pride;
A holy calm creeps o'er my peaceful soul,
Anger and mad Ambition's storms subside.''
The latter stanza might well be the form in embryo of the four rejected stanzas quoted infra, n. on . Dr Phelps remarks that ''the scenery as well as the meditations of the Elegy were by no means original: they simply established more firmly literary fashions which were already becoming familiar.''
And certainly if the opening stanzas of the Elegy as we now have them were written as early as 1742, their composition was in no way affected by the poems of Warton and Collins; the same must be said even if the 'autumnal verses' of the letter of Sept. 11, 1746, were the Elegy. The spirit of gentle melancholy was in the air; and in 1746 and 1747 found in three young poets, Collins, Joseph Warton and Thomas Warton, that voice to the world at large which is found again in Gray in 1750. For in 1747 Thomas Warton published anonymously these lines, which he had written in his 17th year (1745):
''Beneath yon ruin'd abbey's moss-grown pile
Oft let me sit, at twilight hour of eve
Where thro' some western window the pale moon
Pours her long-levell'd rule of streaming light;
While sullen sacred silence reigns around,
Save the lone screech-owl's note, who builds his bow'r
Amid the mould'ring caverns dark and damp,
Or the calm breeze, that rustles in the leaves
Of flaunting ivy, that with mantle green
Invests some wasted tow'r:
''
where resemblance to the Elegy is closest of all.
Between these three poets communication of ideas was probable; but at this date even Thomas Warton, with whom he afterwards corresponded, was an absolute stranger to Gray. And Gray is so far from feeling that in any of these there were 'kindred spirits' who might 'enquire his fate' that he writes, Dec. 27, 1746:
'Have you seen the Works of two young Authors, a Mr Warton and a Mr Collins, both Writers of Odes? it is odd enough, but each is the half of a considerable Man, and one the counterpart of the other. The first has but little invention, very poetical choice of Expression, and a good Ear, the second a fine fancy, model'd upon the Antique, a bad Ear, great variety of Words, and Images with no choice at all. They both deserve to last some Years, but will not.'
So little are men conscious of that 'stream of tendency' on which they themselves are borne."

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Literary Terms - Antithesis - Shakespeare Online

"After this verse, in the Original MS. of the poem, are the four following stanzas: -

The thoughtless world to Majesty may bow,
Exalt the brave, and idolize success;
But more to innocence their safety owe
Than power and genius e'er conspired to bless.

And thou, who mindful of th' unhonoured dead
Dost in these notes their artless tale relate,
By Night and lonely Contemplation led
To linger in the gloomy walks of Fate;

Hark! how the sacred Calm, that broods around,
Bids ev'ry fierce tumultuous passion cease;
In still small accents whispering from the ground
A grateful earnest of eternal Peace.

No more with reason and thyself at strife,
Give anxious cares and endless wishes room;
But thro' the cool sequestered vale of life
Pursue the silent tenor of thy doom."

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"After this verse, in the Mason MS. of the poem, are the four following stanzas: -

The thoughtless World to Majesty may bow,
Exalt the brave, and idolize Success;
But more to Innocence their Safety owe
Than Pow'r and Genius e'er conspir'd to bless.

And thou, who mindful of th' unhonour'd Dead,
Dost in these Notes their artless Tale relate,
By Night and lonely Contemplation led
To linger in the gloomy Walks of Fate:

Hark! how the sacred Calm, that broods around,
Bids ev'ry fierce tumultuous Passion cease;
In still small Accents whisp'ring from the Ground,
A grateful Earnest of eternal Peace.

No more, with Reason and thyself at Strife
Give anxious Cares and endless Wishes room;
But thro' the cool sequester'd Vale of Life
Pursue the silent Tenour of thy Doom."