The Progress of Poesy by Thomas Gray | Structure, Summary, Analysis

The Progress of Poesy by Thomas Gray | Structure, Summary, Analysis

Hello and welcome to the Discourse. The Progress of Poesy is a long poem by Thomas Gray that was published by his friend Horace Walpole in 1757. Gray wrote two Pindaric Odes, ‘The Progress of Poesy,’ and ‘The Bard.’ He considered these two poems as the best of his works. Unlike the Horatian odes which are written more calmly and reflectively, a Pindaric Ode involves fire and passion. Thomas Gray belonged to a period that saw the transition of Neo-Classicism to Romanticism and his Pindaric Odes established Gray to be the precursor for Romantic poetry.

Structure of The Progress of Poesy:

Thomas Gray chose a complex and highly structured form for this poem. He divided the poem into three parts and each part contains three stanzas of varying length (or number of lines). Thus, there are Nine stanzas in total and each stanza has a different rhyming scheme. The first two stanzas of each of the three parts contain 12 lines while the third stanza of all these parts is composed of 17 lines each. The two first two stanzas of each section follow an irregular ABBACCDDEEFF rhyme scheme, while the concluding stanza of each section follows an irregular AABBACCDEDEFGFGHH rhyme scheme. The poem’s meter is irregular and shifts between iambic tetrameter (four feet of two syllables in an unstressed, stressed pattern) and iambic pentameter (five of the same unstressed, stressed feet). The first part is titled The First Age’, the second part is ‘The Second Age,’ and the third part is titled ‘The Third Age.’

Gray used allusion, alliteration, caesura, imagery, metaphors, and personification in the poem.

Themes of The Progress of Poesy:

The poem suggests the NeoClassicist approach of Thomas Gray. He conveys two central ideas through his poem The Progress of Poesy. The first one is that poetry is powerful, as evidenced by its presence in human communities across time and geography. The poem celebrates the poetic development of poetry and suggests the idea of universality or absoluteness. Gray’s repeated allusions to ancients singing poetry and echoing from rugged hills of Greece and Italy are evidence of this point. Another important theme of Gray’s ode is that the modern English poets owe a great debt to the Ancient Greeks and Romans. In the ode, the sources of poetry come from the muses living in the Helicon Valley. The Helicon Valley is surrounded by the different sounds of vales and water flowing meaning that the poetry also flows in different rhymes and music inspired and formed by the muses in Helicon Valley.

Gray suggests his Romantic approach in the ode by examining the impact of poetry on the consciousness of the human mind. Gray says that poetry can control the passion and emotional flow of human beings. It can release the feelings of the anger of Lord of the War and lull the furious eagle from the Jove and it can also subdue the eagle to deep slumber with the musical effects of poetry.

Summary of The Progress of Poesy:

Part 1 Stanza 1 Lines 1-12

“Awake, Æolian lyre, awake,

And give to rapture all thy trembling strings.

From Helicon's harmonious springs

A thousand rills their mazy progress take:

The laughing flowers, that round them blow,

Drink life and fragrance as they flow.

Now the rich stream of music winds along

Deep, majestic, smooth, and strong,

Thro' verdant vales, and Ceres' golden reign:

Now rolling down the steep amain,

Headlong, impetuous, see it pour:

The rocks and nodding groves rebellow to the roar.”

The poet addresses the Greek god Aeolian lyre who spread his winds and it creates a sound of music. The speaker then compares poetry to spring season and flowers where the source of poetry comes from the muses who live in “Helicon”. From this source, the muses inspire the writings of poetry and similarly to the thousands flow of water from Helicon Valley the writings of poetry also flow in different modes of rhymes from the same Helicon Valley. The poet says that poetry can give life and fragrant enthusiastic decorum all around. The poet then compares poetry to music while invoking “Ceres” the goddess of Earth. He says that the flow of poetry is “Deep, majestic, smooth, and strong” through the “verdant vales” and “Ceres golden reign,” which implies that poetry flows and has an influence throughout the world. The poet used the Imagery of a waterfall to suggest that the sound of water and the roaring of nature show the similar effect of poetry that also creates such music whether mild or strong.

Part 1 Stanza 2 Lines 13-24

“Oh! Sovereign of the willing soul,

Parent of sweet and solemn-breathing airs,

Enchanting shell! the sullen Cares

And frantic Passions hear thy soft control.

On Thracia's hills the Lord of War,

Has curb'd the fury of his car,

And dropp'd his thirsty lance at thy command.

Perching on the sceptred hand

Of Jove, thy magic lulls the feather'd king

With ruffled plumes and flagging wing:

Quench'd in dark clouds of slumber lie

The terror of his beak, and light'nings of his eye.”

In this stanza, the poet explains the powerful effects of poetry on human emotions. The speaker says that poetry can control the passion and emotional flow of humans as it brings a different range of emotions to the mind of a person. The effect of poetry can actually release the anger and fury of the Lord of the War on Thracia’s Hills. Poetry can change the nature of the god of war. The perched eagle on the powerful hands of Jupiter Jove can be lulled by the effects of poetry. The fierce of an eagle is subdued to the effects of slumber through poetry. The poet alludes to the Roman Gods Jove (Jupiter, the god of sky) riding the mighty eagle, and Mars (the Lord of War).

Part 1 Stanza 3 Lines 25-41

“Thee the voice, the dance, obey,

Temper'd to thy warbled lay.

O'er Idalia's velvet-green

The rosy-crowned Loves are seen

On Cytherea's day

With antic Sports and blue-ey'd Pleasures,

Frisking light in frolic measures;

Now pursuing, now retreating,

Now in circling troops they meet:

To brisk notes in cadence beating

Glance their many-twinkling feet.

Slow melting strains their Queen's approach declare:

Where'er she turns the Graces homage pay.

With arms sublime, that float upon the air,

In gliding state she wins her easy way:

O'er her warm cheek and rising bosom move

The bloom of young Desire and purple light of Love.”

The speaker continues to talk about the effect of poetry on the human mind and heart and says that poetry is an essential part of the emotion of love. He alludes to Cupid, the God of Love, and says that Cupid’s messengers dance and obey the voice of poetry and they are seen dancing on “Idalia” in Cyprus on Cytherea’s Day. The poet continues to describe the dancing of the cupid’s messengers who are engaged in “antic sports” and merry-making pleasure. Sometimes, they dance while pursuing something and retreating again. They also circle around and dance around to the rhythm of the music and one can see the shining feet of the cupid’s messengers.

The poet alludes to Venus, the goddess of beauty as the ‘Queen’ who approaches when the music becomes slow and melodious. It is also stated that whenever Venus or the goddess of beauty passes on Cytherea’s Day, the Graces or the daughters of Zeus pay their respect or homage to her. The goddess of beauty is depicted as something that glides and floats beautifully at ease attracting the audience. The poet also goes on to say that she can move the young Desire with her warm cheek and rising bosom meaning her youth and beauty. Desire and Love always accompany Venus as she approaches. It means the progress of poetry is also accompanied by moving desires or passion as well as love for the readers or audiences.

Part 2 Stanza 1 Lines 42-53

“Man's feeble race what ills await,

Labour, and Penury, the racks of Pain,

Disease, and Sorrow's weeping train,

And Death, sad refuge from the storms of Fate!

The fond complaint, my song, disprove,

And justify the laws of Jove.

Say, has he giv'n in vain the heav'nly Muse?

Night, and all her sickly dews,

Her spectres wan, and birds of boding cry,

He gives to range the dreary sky:

Till down the eastern cliffs afar

Hyperion's march they spy, and glitt'ring shafts of war.”

In this stanza, the speaker concentrates on human life while mentioning the troubles and miseries of human life (“Labour, and Penury, the racks of Pain”). It is compared to the moving “weeping train” and the last living experience is death as well as the destiny or fate that governs human life. Some disagree with the poet’s song or poem but he tries to justify the “laws of Jove” meaning the law of the effects of poetry on human thoughts and emotions. The poet states that the divine heavenly muse is not given in vain. The poet also states that night carries the sickly dews and bad omen carrying birds and when the night is over, Hyperion or the sun marches or rises battling against the night. It is similar effect with poetry where it brings light onto human life by battling against the miseries of life.

Part 2 Stanza 2 Lines 54-65

“In climes beyond the solar road,

Where shaggy forms o'er ice-built mountains roam,

The Muse has broke the twilight-gloom

To cheer the shiv'ring native's dull abode.

And oft, beneath the od'rous shade

Of Chili's boundless forests laid,

She deigns to hear the savage youth repeat

In loose numbers wildly sweet

Their feather-cinctur'd chiefs, and dusky loves.

Her track, where'er the goddess roves,

Glory pursue, and generous Shame,

Th' unconquerable Mind, and Freedom's holy flame.”

The speaker innumerates the omnipresent traits of poetry which exists even in the remote areas of Earth’s geography beyond the solar road. He gives an image of the natives living in the ice-built mountain and the Muse here refers to poetry. The poetry gives warmth to these people living in the chilly mountains and the in-existence of poetry would have brought dullness to them. Poetry is present even in the areas where there are shades or shades bounded by the forests. Poetry gives a different shade in these areas being savage and wildly sweet in loose rhymes and music. Whenever the goddess is present, glory, fame, and sacredness are pursued. Poetry represents liberty and an “unconquerable mind”.

Part 2 Stanza 3 Lines 66-82

“Woods, that wave o'er Delphi's steep,

Isles, that crown th' Ægean deep,

Fields, that cool Ilissus laves,

Or where Mæander's amber waves

In ling'ring Lab'rinths creep,

How do your tuneful echoes languish,

Mute, but to the voice of Anguish?

Where each old poetic mountain

Inspiration breath'd around:

Ev'ry shade and hallow'd Fountain

Murmur'd deep a solemn sound:

Till the sad Nine in Greece's evil hour

Left their Parnassus for the Latian plains.

Alike they scorn the pomp of tyrant Power,

And coward Vice, that revels in her chains.

When Latium had her lofty spirit lost,

They sought, O Albion! next thy sea-encircled coast.”
In this stanza, the speaker talks about the origins of poetry posits that English poetry is built on an ancient foundation, and suggests that the Muses of ancient Greece are still active in England. He says that poetry took birth and shape in Greece over “Delphis Steep” or the shrine of Apollo. It is an island that crowned the Aegean Sea. He also talks about the river of amber raves and the river flows lingering the sound of poetry meaning that various poems and poets are associated with these places including the Greek poet Homer who was born in Meander or Asia Minor and lyric poetry flourished. The lyric poetry lingered around in Labyrinths Creep for a small temporal time. The poetry seems to fade away due to the voice of Anguish. There were lots of pain in this area and hence poetry faded away. Greeks have a reputation where many poets inspired the people. All these shades and sacred areas of Greece aided in originating the source of poetry. The poetry took its journey to Italy when Greece was enslaved by evil hour. The Nine Muses left their mountain Parnassus to Italy of Latian plains. When the poetry reached Italy, they did not help in enriching the effects of poetry due to the tyrant Power and people were enslaved hence the poetry lost its seriousness and sweetness in Italy. The poetry left and it reached Albion or England or the British Isles.

Part 3 Stanza 1 Lines 83-94

“Far from the sun and summer-gale,

In thy green lap was Nature's darling laid,

What time, where lucid Avon stray'd,

To him the mighty Mother did unveil

Her awful face: the dauntless child

Stretch'd forth his little arms, and smiled.

This pencil take (she said) whose colours Richly paint the vernal year:

Thine too these golden keys, immortal boy!

This can unlock the gates of Joy;

Of Horror that, and thrilling Fears,

Or ope the sacred source of sympathetic tears.”clear

Richly paint the vernal year:

Thine too these golden keys, immortal boy!

This can unlock the gates of Joy;

Of Horror that, and thrilling Fears,

Or ope the sacred source of sympathetic tears.”

In this stanza, Thomas Gray mentions Shakespeare, the Bard of Avon, and praises him. The speaker says that Shakespeare was ‘Nature’s darling,’ or a natural poet whom Mother Nature herself taught how to create poetry and dramas. Shakespeare didn’t have a formal education in a University. The speaker says that Mother Nature gave the ‘golden keys’ to the bard of Avon through which he could ‘unlock the gates of joy, of horror, and thrilling fears. The poet mentions Shakespeare as the ‘immortal boy.’

Part 3 Stanza 2 Lines 95-106

“Nor second he, that rode sublime

Upon the seraph-wings of Ecstasy,

The secrets of th' Abyss to spy.

He pass'd the flaming bounds of Place and Time:

The living throne, the sapphire-blaze,

Where angels tremble, while they gaze,

He saw; but blasted with excess of light,

Clos'd his eyes in endless night.

Behold, where Dryden's less presumptuous car,

Wide o'er the fields of Glory bear

Two coursers of ethereal race,

With necks in thunder cloth'd, and long-resounding pace.”
In this stanza, the speaker mentions John Milton in the lines “Nor second He, that rode sublime Upon the seraph-wings of Extasy, The secrets of the Abyss to spy.” The speaker says that the sublime poet was second to none. He mentions how Milton lost his eyesight yet was able to see that even ‘angels tremble, while they gaze.” Having gone blind in 1652, Milton wrote Paradise Lost entirely through dictation with the help of amanuenses and friends. The speaker then mentions John Dryden and his “less presumptuous car”. Dryden, of the previous generation of poets to Gray, rides behind two divine horses (Shakespeare and Milton).

Part 3 Stanza 3 Lines 107-123

“Hark, his hands thy lyre explore!

Bright-eyed Fancy hovering o'er

Scatters from her pictur'd urn

Thoughts that breathe, and words that burn.

But ah! 'tis heard no more—

O lyre divine, what daring spirit

Wakes thee now? tho' he inherit

Nor the pride, nor ample pinion,

That the Theban Eagle bear,

Sailing with supreme dominion

Thro' the azure deep of air:

Yet oft before his infant eyes would run

Such forms, as glitter in the Muse's ray

With orient hues, unborrow'd of the Sun:

Yet shall he mount, and keep his distant way

Beyond the limits of a vulgar fate,

Beneath the good how far—but far above the great.”

Part III of the poem describes the final stage of poetry when it reaches its pinnacle of perfection. Gray describes the great poets of his own time, such as Milton and Shakespeare, who have taken the art of poetry to new heights and have made it a powerful force for change and inspiration. He talks about how these poets used their own experiences and emotions to create works that were deeply personal and relatable. The language used in this part of the poem is more emotional and expressive, reflecting the romantic nature of this era.

So this is it for today. We will continue to discuss the history of English literature. Please stay connected with the Discourse. Thanks and Regards!