Alien Digest 2 by Creston

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45 The Elegy was celebrated from the moment of its publication, indeed, rather before it, as it was circulated around Gray's friends and admirers. It potentially scripts all future visits to poets' graves; it certainly scripted all subsequent visits to Gray's grave. It was, understandably, commonplace to identify Gray with the speaker of the poem even in his lifetime: Thomas Warton, the Younger addressed his Sonnet to Mr Gray imagining him in the throes of composition in the churchyard, a fancifully sentimental vignette which strategically echoes those famous lines from the Elegy - 'The curfew tolls the knell of passing day' and 'Beneath those rugged elms, that yew-tree's shade': While slowly-pacing thro' the churchyard dew, At curfeu-time [sic], beneath the dark-green yew, Thy pensive genius strikes the moral strings ...

Lawrence's is a phoenix, for example). And it is only in part the result of simply running out of space, which is the reason adduced by the current guidebook for the very recent appearance of the names of Pope, Wilde, Marlowe, Herrick, Housman, and Burney in the modern window-glass above Chaucer's tomb. It has much more to do with the ad hoc history of the place itself. Chaucer's tomb has been the heart of Poets' Corner since his remains were moved by admirers to a new tomb in 1556, some one hundred and fifty odd years after his death and original burial in the Abbey in 1400 as a good civil servant: appropriately, it is the presence of this creator of literary pilgrims which resulted in the Abbey becoming the destination of so many others over the ensuing centuries.

50 They were more likely to regard the romantic anonymity of Gray's tomb, combined with the rural peace of the churchyard, as the emotional centre of gravity to the experience. This anonymity, apparently accidental since Gray's will makes no such specification, nevertheless appears congruent with, not to say overdetermined by, the Elegy, dissolving Gray not merely into the speaker of the poem, but also into the anonymous dead poet with whose epitaph the poem closes. By the late 1830s the process of making over Stoke Poges and Thomas Gray into the 'country churchyard' and the 'Poet' of the Elegy was all but complete; it was possible to imagine Gray both in the throes of composing the Elegy and as its own dead subject.

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