The unity of form and content is what distinguishes poetry from other areas of creativity. However, this is precisely what titanic work implies. Select Poems of Thomas Gray by Thomas Gray (shoe dog free ebook TXT) 📖
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27. The liquid noon. Gray quotes Virgil, Geo. iv. 59: "Nare per aestatem liquidam."
30. Quick-glancing to the sun. Gray quotes Milton, P. L. vii. 405:
"Sporting with quick glance,Show to the sun their waved coats dropt with gold."
31. Gray here quotes Green, Grotto: "While insects from the threshold preach." In a letter to Walpole, he says: "I send you a bit of a thing for two reasons: first, because it is of one of your favourites, Mr. M. Green; and next, because I would do justice. The thought on which my second Ode turns [this Ode, afterwards placed first by Gray] is manifestly stole from hence; not that I knew it at the time, but having seen this many years before, to be sure it imprinted itself on my memory, and, forgetting the Author, I took it for my own." Then comes the quotation from Green's Grotto. The passage referring to the insects is as follows:
"To the mind's ear, and inward sight,There silence speaks, and shade gives light:
While insects from the threshold preach,
And minds dispos'd to musing teach;
Proud of strong limbs and painted hues,
They perish by the slightest bruise;
Or maladies begun within
Destroy more slow life's frail machine:
From maggot-youth, thro' change of state,
They feel like us the turns of fate:
Some born to creep have liv'd to fly,
And chang'd earth's cells for dwellings high:
And some that did their six wings keep,
Before they died, been forc'd to creep.
They politics, like ours, profess;
The greater prey upon the less.
Some strain on foot huge loads to bring,
Some toil incessant on the wing:
Nor from their vigorous schemes desist
Till death; and then they are never mist.
Some frolick, toil, marry, increase,
Are sick and well, have war and peace;
And broke with age in half a day,
Yield to successors, and away."
47. Painted plumage. Cf. Pope, Windsor Forest, 118: "His painted wings; and Milton, P. L. vii. 433:
"From branch to branch the smaller birds with songSolaced the woods, and spread their painted wings."
See also Virgil, Geo. iii. 243, and Æn. iv. 525: "pictaeque volucres;" and Phædrus, Fab. iii. 18: "pictisque plumis."
This ode first appeared in Dodsley's Collection, vol. ii. p. 274, with some variations noticed below. Walpole, after the death of Gray, placed the china vase on a pedestal at Strawberry Hill, with a few lines of the ode for an inscription.
In a letter to Walpole, dated March 1, 1747, Gray refers to the subject of the ode in the following jocose strain: "As one ought to be particularly careful to avoid blunders in a compliment of condolence, it would be a sensible satisfaction to me (before I testify my sorrow, and the sincere part I take in your misfortune) to know for certain who it is I lament. I knew Zara and Selima (Selima, was it? or Fatima?), or rather I knew them both together; for I cannot justly say which was which. Then as to your handsome Cat, the name you distinguish her by, I am no less at a loss, as well knowing one's handsome cat is always the cat one likes best; or if one be alive and the other dead, it is usually the latter that is the handsomest. Besides, if the point were never so clear, I hope you do not think me so ill-bred or so imprudent as to forfeit all my interest in the survivor; oh no! I would rather seem to mistake, and imagine to be sure it must be the tabby one that had met with this sad accident. Till this affair is a little better determined, you will excuse me if I do not begin to cry,
"... Heigh ho! I feel (as you to be sure have done long since) that I have very little to say, at least in prose. Somebody will be the better for it; I do not mean you, but your Cat, feuë Mademoiselle Selime, whom I am about to immortalize for one week or fortnight, as follows: [the Ode follows, which we need not reprint here].
"There's a poem for you, it is rather too long for an Epitaph."
2. Cf. Lady M. W. Montagu, Town Eclogues:
"Where the tall jar erects its stately pride,With antic shapes in China's azure dyed."
3. The azure flowers that blow. Johnson and Wakefield find fault with this as redundant, but it is no more so than poetic usage allows. In the Progress of Poesy, i. 1, we have again: "The laughing flowers that round them blow." Cf. Comus, 992:
"Iris there with humid bowWaters the odorous banks that blow
Flowers of more mingled hue
Than her purfled scarf can shew."
4. Tabby. For the derivation of this word from the French tabis, a kind of silk, see Wb. In the first ed. the 5th line preceded the 4th.
6. The lake. In the mock-heroic vein that runs through the whole poem.
11. Jet. This word comes, through the French, from Gagai, a town in Lycia, where the mineral was first obtained.
14. Two angel forms. In the first ed. "two beauteous forms," which Mitford prefers to the present reading, "as the images of angel and genii interfere with each other, and bring different associations to the mind."
16. Tyrian hue. Explained by the "purple" in next line; an allusion to the famous Tyrian dye of the ancients. Cf. Pope, Windsor Forest, 142: "with fins of Tyrian dye."
17. Cf. Virgil, Geo. iv. 274:
"Aureus ipse; sed in foliis, quae plurima circumFunduntur, violae sublucet purpura nigrae."
See also Pope, Windsor Forest, 332: "His shining horns diffus'd a golden glow;" Temple of Fame, 253: "And lucid amber casts a golden gleam."
24. In the 1st ed. "What cat's a foe to fish?" and in the next line, "with eyes intent."
31. Eight times. Alluding to the proverbial "nine lives" of the cat.
34. No dolphin came. An allusion to the story of Arion, who when thrown overboard by the sailors for the sake of his wealth was borne safely to land by a dolphin.
No Nereid stirr'd. Cf. Milton, Lycidas, 50:
"Where were ye, Nymphs, when the remorseless deepClosed o'er the head of your lov'd Lycidas?"
35, 36. The reading of 1st ed. is,
"Nor cruel Tom nor Harry heard.What favourite has a friend?"
40. The 1st ed. has "Not all that strikes," etc.
42. Nor all that glisters gold. A favourite proverb with the old English poets. Cf. Chaucer, C. T. 16430:
"But all thing which that shineth as the goldNe is no gold, as I have herd it told;"
Spenser, F. Q. ii. 8, 14:
Shakes. M. of V. ii. 7:
"All that glisters is not gold;Often have you heard that told;"
Dryden, Hind and Panther:
Other examples might be given. Glisten is not found in Shakes. or Milton, but both use glister several times. See W. T. iii. 2; Rich. II. iii. 3; T. A. ii. 1, etc.; Lycidas, 79; Comus, 219; P. L. iii. 550; iv. 645, 653, etc.
This, as Mason informs us, was the first English1 production of Gray's that appeared in print. It was published, in folio, in 1747; and appeared again in Dodsley's Collection, vol. ii. p. 267, without the name of the author.
1 A Latin poem by him, a "Hymeneal" on the Prince of Wales's Marriage, had appeared in the Cambridge Collection in 1736.Hazlitt (Lectures on English Poets) says of this Ode: "It is more mechanical and commonplace [than the Elegy]; but it touches on certain strings about the heart, that vibrate in unison with it to our latest breath. No one ever passes by Windsor's 'stately heights,' or sees the distant spires of Eton College below, without thinking of Gray. He deserves that we should think of him; for he thought of others, and turned a trembling, ever-watchful ear to 'the still sad music of humanity.'"
The writer in the North American Review (vol. xcvi.), after referring to the publication of this Ode, which, "according to the custom of the time, was judiciously swathed in folio," adds:
"About this time Gray's portrait was painted, at Walpole's request; and on the paper which he is represented as holding, Walpole wrote the title of the Ode, with a line from Lucan:
The poem met with very little attention until it was republished in 1751, with a few other of his Odes. Gray, in speaking of it to Walpole, in connection with the Ode to Spring, merely says that to him 'the latter seems not worse than the former.' But the former has always been the greater favourite—perhaps more from the matter than the manner. It is the expression of the memories, the thoughts, and the feelings which arise unbidden in the mind of the man as he looks once more on the scenes of his boyhood. He feels a new youth in the presence of those old joys. But the old friends are not there. Generations have come and gone, and an unknown race now frolic in boyish glee. His sad, prophetic eye cannot help looking into the future, and comparing these careless joys with the inevitable ills of life. Already he sees the fury passions in wait for their little victims. They seem present to him, like very demons. Our language contains no finer, more graphic personifications than these almost tangible shapes. Spenser is more circumstantial, Collins more vehement, but neither is more real. Though but outlines in miniature, they are as distinct as Dutch art. Every epithet is a lifelike picture; not a word could be changed without destroying the tone of the whole. At last the musing poet asks himself, Cui bono? Why thus borrow trouble from the future? Why summon so soon the coming locusts, to poison before their time the glad waters of youth?
'Yet ah! why should they know their fate,Since sorrow never comes too late.
And happiness too quickly flies?
Thought would destroy their paradise.
No more;—where ignorance is bliss,
'Tis folly to be wise.'
So feeling and the want of feeling come together for once in the moral. The gay Roman satirist—the apostle of indifferentism—reaches the same goal, though he has travelled a different road. To Thaliarchus he says:
'Quid sit futurum cras, fuge quaerere: etQuem Fors dierum cumque dabit, lucro
Appone.'
The same easy-going philosophy of life forms the key-note of the Ode to Leuconoë:
of that to Quinctius Hirpinus:
'Quid aeternis minoremConsiliis animum fatigas?'
of that to Pompeius Grosphus:
'Laetus in praesens animus, quod ultra est,Oderit curare.'
And so with many others. 'Take no thought of the morrow.'"
Wakefield translates the Greek motto, "Man is an abundant subject of calamity."
2. That crown the watery glade. Cf. Pope, Windsor Forest, 128: "And lonely woodcocks haunt the watery glade."
4. Her Henry's holy shade. Henry the Sixth, founder of the college. Cf. The Bard, ii. 3: "the meek usurper's holy head;" Shakes. Rich. III. v. 1: "Holy King Henry;" Id. iv. 4: "When holy Harry died." The king, though never canonized, was regarded as a saint.
5. And ye. Ye "towers;" that is, of Windsor Castle. Cf. Thomson, Summer, 1412:
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