"Albert Museum, as is his watercolour study of Stoke Poges church, while the watercolour for stanza 5, in which the narrator leans on a gravestone to survey the cemetery, is held at the British Museum (see below). While not an illustration in itself, Christopher Nevinson’s statement against the slaughter of World War I in his painting ""Paths of Glory"" (1917) takes its title from another line in the Elegy, “The paths of glory lead but to the grave”. The title had already been used two years before by Irvin S. Cobb in an account of his journalistic experiences at the"
"Elegy Written in a Country Churchyard Elegy Written in a Country Churchyard is a poem by Thomas Gray, completed in 1750 and first published in 1751. The poem's origins are unknown, but it was partly inspired by Gray's thoughts following the death of the poet Richard West in 1742. Originally titled ""Stanzas Wrote in a Country Church-Yard"", the poem was completed when Gray was living near St Giles' parish church at Stoke Poges. It was sent to his friend Horace Walpole, who popularised the poem among London literary circles. Gray was eventually forced to publish the work on 15 February"
"Poges, the setting for his famous ""Elegy"". His grave can still be seen there. Thomas Gray Thomas Gray (26 December 1716 – 30 July 1771) was an English poet, letter-writer, classical scholar, and professor at Pembroke College, Cambridge. He is widely known for his ""Elegy Written in a Country Churchyard,"" published in 1751. Gray was an extremely self-critical writer who published only 13 poems in his lifetime, despite being extremely popular. He was even offered the position of Poet Laureate in 1757, though he declined. Thomas Gray was born in Cornhill, London. His father, Philip Gray, was a scrivener and"
"affect the development of lyric poetry in English"". While analyzing the use of ""death"" in 18th-century poetry, David Morris, in 2001, declared the poem as ""a monument in this ongoing transformation of death"" and that ""the poem in its quiet portraits of rural life succeeds in drawing the forgotten dead back into the community of the living."" Elegy Written in a Country Churchyard Elegy Written in a Country Churchyard is a poem by Thomas Gray, completed in 1750 and first published in 1751. The poem's origins are unknown, but it was partly inspired by Gray's thoughts following the death of"
"Lawrence Brockett, but he secured the position in 1768 after Brockett's death. 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 (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"
"Thomas Gray Thomas Gray (26 December 1716 – 30 July 1771) was an English poet, letter-writer, classical scholar, and professor at Pembroke College, Cambridge. He is widely known for his ""Elegy Written in a Country Churchyard,"" published in 1751. Gray was an extremely self-critical writer who published only 13 poems in his lifetime, despite being extremely popular. He was even offered the position of Poet Laureate in 1757, though he declined. Thomas Gray was born in Cornhill, London. His father, Philip Gray, was a scrivener and his mother, Dorothy Antrobus, was a milliner. He was the fifth of twelve children,"
"all, particularly Propertius, drew influence from Callimachus, and they also clearly read each other and responded to each other's works. Notably, Catullus and Ovid wrote in non-elegiac meters as well, but Propertius and Tibullus did not. The ""elegy"" was originally a classical form with few English examples. However, in 1751, Thomas Gray wrote ""Elegy Written in a Country Churchyard"". That poem inspired numerous imitators, and soon both the revived Pindaric ode and ""elegy"" were commonplace. Gray used the term ""elegy"" for a poem of solitude and mourning, and not just for funereal (eulogy) verse. He also freed the elegy from"
"poem's use of language as a reason for its importance and popularity. In 1995, Lorna Clymer argued, ""The dizzying series of displacements and substitutions of subjects, always considered a crux in Thomas Gray's ""Elegy Written in a Country Churchyard"" (1751), results from a complex manipulation of epitaphic rhetoric."" Later, Robert Mack, in 2000, explained that ""Gray's ""Elegy"" is numbered high among the very greatest poems in the English tradition precisely because of its simultaneous accessibility and inscrutability."" He went on to claim that the poem ""was very soon to transform his life – and to transform or at least profoundly"
"poems, there are the stirrings of the lyric as the Romantics would see it: the celebration of the private individual's idiosyncratic, yet paradigmatic, responses to the visions of the world. These hints at the solitary poet were carried into a new realm with Thomas Gray, whose ""Elegy Written in a Country Church-Yard"" (1750) set off a new craze for poetry of melancholy reflection. It was written in the ""country,"" and not in or as opposed to London, and the poem sets up the solitary observer in a privileged position. It is only by being solitary that the poet can speak"
"ask once again for her hand in marriage. She accepts, and the two are quietly married. Hardy took the title from Thomas Gray's poem ""Elegy Written in a Country Churchyard"" (1751). ""Far from the madding crowd's ignoble strife""<br> ""Their sober wishes never learn'd to stray"";<br> ""Along the cool sequester'd vale of life""<br> ""They kept the noiseless tenor of their way"". ""Madding"" here means ""frenzied"". Lucasta Miller points out that the title is an ironic literary joke as Gray is idealising the noiselessness and sequestered calm whereas Hardy ""disrupts the idyll, and not just by introducing the sound and fury of"
"""Elegy"": ""I am inclined to believe that the Elegy in a Country Church-yard was begun, if not concluded, at this time [August 1742] also: Though I am aware that as it stands at present, the conclusion is of a later date; how that was originally I shall show in my notes on the poem."" Mason's argument was a guess, but he argued that one of Gray's poems from the Eton Manuscript, a copy of Gray's handwritten poems owned by Eton College, was a 22-stanza rough draft of the Elegy called ""Stanza's Wrote in a Country Church-Yard"". The manuscript copy contained"
"partying at an inn. Their mood shifts as they listen to a captive German girl sing a sentimental folk song. Dax decides to leave without informing the men that they have been ordered to return to the front. His face hardens as he returns to his quarters. Cobb's novel had no title when it was finished, so the publisher held a contest. The winning entry came from the ninth stanza of the Thomas Gray 1751 poem ""Elegy Written in a Country Churchyard"". <poem>The boast of heraldry, the pomp of pow'r, And all that beauty, all that wealth e'er gave, Awaits"
"well as the Romantic movement. The Graveyard School is an indefinite literary grouping that binds together a wide variety of authors; what makes a poem a ""graveyard"" poem remains open to critical dispute. At its narrowest, the term ""Graveyard School"" refers to four poems: Thomas Gray's Elegy Written in a Country Churchyard, Thomas Parnell's ""Night-Piece On Death"", Robert Blair's The Grave (poem), and Edward Young's Night-Thoughts. At its broadest, it can describe a host of poetry and prose works popular in the early and mid-eighteenth century. The term itself was not used as a brand for the poets and their"
"a controversial advertisement for Premier Inn. In the ""Scream Queens"" episode ""Pumpkin Patch"", Chanel demands that her pumpkin patch party have an exact replica of the hedge maze which plays a central part of the episode. Also in the episode, Chanel #5 has two twin boyfriends, Rodger and Dodger. The song ""Enjoy Your Slay"" by American metalcore band Ice Nine Kills is inspired primarily by the novel as well as the film adaption. The song also features Stanley Kubrick's grandson Sam Kubrick as guest vocalist. The TV series ""Psych"" has an episode titled ""Heeeeere's Lassie"" in which the plot and"
"chapters: the notion that no true poem can ever be reduced to its paraphrasable prose content. In a similar vein, Brooks analyzes Thomas Gray's ""Elegy Written in a Country Churchyard"". The message of this poem seems straightforward and was duplicated by many other ""graveyard"" poems of the late eighteenth century. Therefore, according to Brooks, what makes it one of the most famous in the English language cannot be the poem's message. Brooks instead focuses on the poem's dramatic context as the source of its power. The most famous and best-known application of this doctrine of dramatic appropriateness is Brooks's analysis"
"added a second part to the proverb, as in ""Harry and Lucy Concluded"" (1825) by the Irish novelist Maria Edgeworth: The proverb has been used widely throughout popular media, notably including James Joyce's short story ""Araby"" to Jack Kerouac's ""Big Sur"", the 1957 movie ""The Bridge on the River Kwai"", and the 1980 horror movie ""The Shining"", directed by Stanley Kubrick. In Kubrick's film the main character, Jack Torrance (played by Jack Nicholson), is found to have abandoned the play he was writing in favor of typing this sentence over and over onto reams of paper. A number of other"
"his deceased friend, echoing Gray's narrator reading the tombstones to connect to the dead. Robert Browning relied on a similar setting to the Elegy in his pastoral poem ""Love Among the Ruins"", which describes the desire for glory and how everything ends in death. Unlike Gray, Browning adds a female figure and argues that nothing but love matters. Thomas Hardy, who had memorised Gray's poem, took the title of his fourth novel, Far from the Madding Crowd, from a line in it. In addition, many in his ""Wessex Poems and Other Verses"" (1898) contain a graveyard theme and take a"
"importantly, that in its essentials Gray's ""Elegy"" touches this tradition at many points, and consideration of them is of interest to both to appreciation of the poem and to seeing how [...] they become in the later tradition essential points of reference."" Also in 1977, Thomas Carper noted, ""While Gray was a schoolboy at Eton, his poetry began to show a concern with parental relationships, and with his position among the great and lowly in the world [...] But in the ""Elegy Written in a Country Churchyard"" these longstanding and very human concerns have their most affecting expression."" In 1978,"
"the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. This includes the graveyard poets, from the 1740s and later, whose works are characterised by gloomy meditations on mortality. To this was added, by later practitioners, a feeling for the 'sublime' and uncanny, and an interest in ancient English poetic forms and folk poetry. The poets include Thomas Gray (1716–1771), ""Elegy Written in a Country Churchyard"" (1751) in and Edward Young (1683–1765), ""The Complaint, or Night Thoughts on Life, Death and Immortality"" (1742–45). Other precursors are James Thomson (1700–1748) and James Macpherson"
"The Killing (film) The Killing is a 1956 film noir directed by Stanley Kubrick and produced by James B. Harris. It was written by Kubrick and Jim Thompson and based on the novel ""Clean Break"" by Lionel White. The drama stars Sterling Hayden, Coleen Gray, Vince Edwards and features Marie Windsor, Elisha Cook Jr., Jay C. Flippen and Timothy Carey. Johnny Clay (Sterling Hayden) is a veteran criminal planning one last heist before settling down and marrying Fay (Coleen Gray). He plans to steal $2 million from the money-counting room of a racetrack during a featured race. He assembles a"
"in the film, ""Paths of Glory"" by Stanley Kubrick, being credited as Susanne Christian. In the final scene of ""Paths of Glory"", the young woman she plays is forced to sing to a tavern full of rowdy and disillusioned French soldiers. Her rendition in German of the German folk song ""Ein treuer Husar"" (""The Faithful Hussar"") slowly wins the hearts of the crowd of men, who stop their mocking and carousing, and, one by one, begin to hum and sing along, many of them in tears. She and Kubrick married in 1958, shortly after filming was completed. Their marriage lasted"
"English poetic forms and folk poetry. They are often considered precursors of the Gothic genre. The poets include Thomas Gray (1716–71), whose ""Elegy Written in a Country Churchyard"" (1751) is ""the best known product of this kind of sensibility""; William Cowper (1731–1800); Christopher Smart (1722–71); Thomas Chatterton (1752–70); Robert Blair (1699–1746), author of ""The Grave"" (1743), ""which celebrates the horror of death""; and Edward Young (1683–1765), whose ""The Complaint, or Night Thoughts on Life, Death and Immortality"" (1742–45) is another ""noted example of the graveyard genre"". Other precursors of Romanticism are the poets James Thomson (1700–48) and James Macpherson (1736–96)."
"films starring Max Bygraves—""A Cry from the Streets"" (1958) and ""Spare the Rod"" (1961)—as well as Mike Leigh's ""High Hopes"" (1988). Anthony Minghella's 2006 film ""Breaking and Entering"" is also set in Kings Cross. ""Vale Royal"", an epic poem in 700 triads by Aidan Andrew Dun probes into this zone of London; ""Vale Royal"" was launched at the Albert Hall in 1995. A triad of Dun's, excerpted from another poem, ""The Brill"", has been installed at the western end of Granary Square in a small grove of trees beside the new Central Saint Martins. It reads: ""Kings Cross, dense with"
"Barry Lyndon Barry Lyndon is a 1975 British-American period drama film by Stanley Kubrick, based on the 1844 novel ""The Luck of Barry Lyndon"" by William Makepeace Thackeray. It stars Ryan O'Neal, Marisa Berenson, Patrick Magee, Leonard Rossiter and Hardy Krüger. The film recounts the early exploits and later unraveling of a fictional 18th-century Irish rogue and opportunist who marries a rich widow to climb the social ladder and assume her late husband's aristocratic position. Kubrick began production on Barry Lyndon, after his 1971 film, A Clockwork Orange. Kubrick had originally intended to direct a biopic on Napoleon, but lost"
"work as well. At that period an anonymous review in ""The Academy"" (12 December 1896) claimed that ""Gray's 'Elegy' and Goldsmith's 'The Deserted Village' shine forth as the two human poems in a century of artifice."" The Elegy's continued influence in the 19th century provoked a response from the Romantic poets, who often attempted to define their own beliefs in reaction to Gray's. Percy Bysshe Shelley, for example, who as a schoolboy was given the exercise of translating part of the Elegy into Latin, eventually wrote his own meditation among the graves in 1815. His ""A Summer Evening Churchyard, Lechlade,"
"written a letter to him claiming, ""Of all the English poets of this age, Mr. Gray is most admired, and I think with justice; yet there are comparatively speaking but a few who know of anything of his, but his 'Church-yard Elegy,' which is by no means the best of his works."" There is a story that the British General James Wolfe read the poem before his troops arrived at the Plains of Abraham in September 1759 as part of the Seven Years' War. After reading the poem, he is reported to have said: ""Gentlemen, I would rather have written"
"the resemblance. Before making ""The Shining"", Stanley Kubrick had directed the 1975 film ""Barry Lyndon"", a highly visual period film about an Irish man who attempts to make his way into the British aristocracy. Despite its technical achievements, the film was not a box office success in the United States and was derided by critics for being too long and too slow. Kubrick, disappointed with ""Barry Lyndon""s lack of success, realized he needed to make a film that would be commercially viable as well as artistically fulfilling. Stephen King was told that Kubrick had his staff bring him stacks of"
"in a Country Churchyard"". Immediately, he included the poem in a letter he sent to Walpole, that said: The letter reveals that Gray felt that the poem was unimportant, and that he did not expect it to become as popular or influential as it did. Gray dismisses its positives as merely being that he was able to complete the poem, which was probably influenced by his experience of the churchyard at Stoke Poges, where he attended the Sunday service and was able to visit the grave of Antrobus. The version that was later published and reprinted was a 32-stanza version"
"were ""Dr. Doomsday or: How to Start World War III Without Even Trying"", ""Dr. Strangelove's Secret Uses of Uranus"", and ""Wonderful Bomb"". After deciding to make the film a black comedy, Kubrick brought in Terry Southern as a co-writer in late 1962. The choice was influenced by reading Southern's comic novel ""The Magic Christian"", which Kubrick had received as a gift from Peter Sellers, and which itself became a Sellers film in 1969. Southern made important contributions to the film, but his role led to a rift between Kubrick and Peter George; after ""Life"" magazine published a photo-essay on Southern"
"and directed (after revisions) by Stanley Kubrick. The screenplay for the 1997 version, more faithful to the text of the novel than the earlier motion picture, is credited to Stephen Schiff, a writer for ""The New Yorker"", ""Vanity Fair"", and other magazines. Schiff was hired to write it as his first movie script, after the film's producers had rejected commissioned screenplays from the more experienced screenwriters and directors James Dearden (""Fatal Attraction""), Harold Pinter, and David Mamet. According to Schiff: Schiff added that Kubrick's film might better have been titled ""Quilty"", since the director had allowed the character of Quilty"
"life before the poetic gift has expressed itself fully. This strong pathos of Gray's ""Elegy"" achieves a central position as the antithetical tradition that truly mourns primarily a loss of the self."" In 1988, Morris Golden, after describing Gray as a ""poet's poet"" and places him ""within the pantheon of those poets with whom familiarity is inescapable for anyone educated in the English language"" declared that in ""the 'Elegy Written in a Country Church-yard,' mankind has felt itself to be directly addressed by a very sympathetic, human voice."" He later pointed out: ""Gray's 'Elegy' was universally admired in his lifetime"
"the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex succumbing to his violent, reckless nature—an ending which the publisher insisted would be ""more realistic"" and appealing to a US audience. The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be ""badly flawed""). Kubrick called Chapter 21 ""an extra chapter"" and claimed that he had not read the original version until he had virtually finished the screenplay, and that he had never given serious consideration to using it. In"
"These works were part of a Jacobean cult of melancholia that marked the end of the Elizabethan era. In the late eighteenth century, literary elegies were a common genre; Thomas Gray's ""Elegy Written in a Country Churchyard"" and Edward Young's ""Night Thoughts"" are typical members of the genre. Apart from the genre of requiem and funeral music, there is also a rich tradition of ""memento mori"" in the Early Music of Europe. Especially those facing the ever-present death during the recurring bubonic plague pandemics from the 1340s onward tried to toughen themselves by anticipating the inevitable in chants, from the"