Miltons "Lycidas"

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The pastoral elegy is a subgenre of poetry that mourns death while incorporating using the language of shepherds and farming. Traditionally in pastoral elegies, the deceased object is represented as an idealized shepherd in an ideal pastoral setting. Usually following a formal pattern, the pastoral elegy begins with lament against death and a declaration of grief followed by a summoning of a Muse to help with the expression of the Poet’s anguish. The pastoral elegy usually consists of a funeral procession and represents nature as participating in the sorrow of the death, portraying sorrow as universal, and often ends with a form of acceptance. “Lycidas” by John Milton is one of the most well known examples of the pastoral elegy. Although Milton very aggressively follows many conventions of the pastoral elegy, as derived from other poets such as Virgil, he also transgressed and revives the tradition of the pastoral elegy. Parallel to the conventions of the pastoral elegy, Milton begins “Lycidas” with the declaration of Lycidas’ (Edward King’s) death: “For Lycidas is dead, dead ere his prime” (8) and very soon after, as tradition calls for, invokes the “gentle Muse” (19). The universal nature of mourning is evidenced in lines 37-49, when Milton writes, “the woods and desert caves/With wild thyme and the galling vie o’ergrown/ and all their echoes mourn.” Nature, particularly the woods and caves, mourn Lycidas’ death. Another convention of the pastoral elegy that Milton pays respect to in “Lycidas” is the procession of funeral. The procession of mourners, led by Camus to mourn the loss to the church, is described in lines 88-111 of “Lycidas”. As with most pastoral elegies, Milton closes his pastoral elegy with consolation. “Weep no more, woeful shepherds, weep no more” (165) exclaims the poet when declaring that Lycidas has not in fact died, but rather, has passed
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