Thomas Gray is generally and rightly regarded as a transitional figure in 18th nose candy verse, providing a pair between the poetic sensibility of his own multiplication and the quixotic revolution of the future. His work show ups the relation between the poetry of the radical age and that of the 18th century. Several aspects of his poetry show the trends in the direction of romanticism, but he could never authentically go out form the spirit of the age in which he lived. Grays coronach is pervaded by an ambiance of melancholy, which lends to the poem a romantic character. The poem, though possessing romantic qualities, bears also the 18th century neo-classical influences. Here he works within the rigid limitations of a four hound iambic pentameter stanza rhymed abab, constructing stately and memorable poetic locutions plot of ground remaining strictly constituted in his rhythms, rhymes and diction. The very order of his heavy iambic beat help to create a sense of t he timeless, changeless figure of country life. In hyphen the lament is traditional and neo-classical. further in ideas and attitudes Gray breaks unfermented ground. He celebrates the worth and valet of the common man in a way that foreshadows the Romantics uniform Burns and Wordsworth. He ruminates with romantic melancholy over the misfortunate and simple annals of the sad.
Moreover, in the later dower of the poem where the focus shifts from the unidentified dead to the poet himself, we make piss a strong subjective and introverted emphasis that is startlingly new. A large part of the charm of the Elegy comes from the poets personal, tender appr! oach to his subject. He lingers in the churchyard, noting the signs of approaching surrender until the atmosphere of twilight musing is established, after which his reflections upon life and remnant realise a tone of sad and intimate... If you want to get a full essay, order it on our website:
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