Vous êtes sur la page 1sur 2

Elegy Written in a Country Churchyard is by far Thomas Gray’s most popular

poem and is probably still one of the most popular poems in the English
language. It was an immediate success and required five printings in 1751—
the year of its publication—alone. There have been more than two hundred
English and American imitations and parodies, and the poem has been
translated into at least eighteen languages, including Armenian,
Czechoslovakian, Danish, Dutch, French, German, Greek, Hebrew,
Hungarian, and Icelandic.

The poem can best be understood in relation to two poetic traditions that were
prevalent in the first half of the eighteenth century. The first of these is the
elegiac tradition. An elegy is a sustained and formal poem setting forth the
poet’s meditations on death or another solemn theme. The meditation is often
occasioned by the death of a particular person, but may be simply a
contemplation of death or the expression of a solemn mood. Gray wrote his
elegy in what came to be called (after the publication and imitation of his
poem) the “elegiac stanza,” or the iambic pentameter quatrain rhyming abab.

The second tradition is the “landscape” tradition, in which the poet embodies
his metaphysical or philosophical musings in the countryside or in nature. A
subdivision of landscape poetry, the “graveyard school,” tries to achieve an
atmosphere of pleasing melancholy by contemplating death and immortality—
usually in a graveyard at night. Graveyard poets were fond of dwelling on
owls, hearses, palls, and other images of death. While Gray’s poem may be
said to belong to the graveyard school, it is by no means typical, for he has
muted many of the more sensational elements.

The poem may be divided into four sections. The first four stanzas establish
the solemn meditative tone and place the speaker in a rustic graveyard at
twilight. Stanzas 5 and 6 describe the events and activities in which the dead
buried there are no longer able to participate. Stanzas 7 to 23 admonish the
great not to view the poor with contempt, suggest that the poor, too, might
have been accomplished and powerful, and assert that all men are equal in
death. In stanzas 24 to 29, the poet addresses himself, imagines himself
observed by an inhabitant of the village, and finally describes his own death
and burial. The poem closes with the speaker’s epitaph, which holds out the
hope of an orthodox heaven.

There are many reasons why Elegy Written in a Country Churchyardhas

enjoyed sustained success. One is that the poem seems to elevate and
defend the lives of the poor against the contempt of the mighty. Do not “mock
their useful toil,” the poet exhorts. He asks, Who knows what the poor people
buried in the churchyard might have accomplished had they been born to
wealth and power? Perhaps in this “ne-glected” country spot lie people who
might have been able to sway “the rod of empire” or create beautiful art. In the
end, all men, regardless of their stations in life, are equal before death:

The boast of heraldry, the pomp of power,  And all that beauty, all that wealth
e’er gave,Awaits alike the inevitable hour.  The paths of glory lead but to the