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The pastoral elegy is typically incredibly moving and in its most classic form, it concerns itself with simple, country figures. In ordinary pastoral poems, the shepherd is the poem's main character. In pastoral elegies, the deceased is often recast as a shepherd, despite what his role may have been in life.
First published as number 208 in the verse collection Hesperides (1648), the poem extols the notion of carpe diem, a philosophy that recognizes the brevity of life and the need to live for and in the moment. The phrase originates in Horace's Ode 1.11.
Answering a reader's question about the poem in 1879, Longfellow himself summarized that the poem was "a transcript of my thoughts and feelings at the time I wrote, and of the conviction therein expressed, that Life is something more than an idle dream." [13] Richard Henry Stoddard referred to the theme of the poem as a "lesson of endurance". [14]
The poem was then published in "Asinus omnia sua secum portans" as a peasant's song. From there, it was published across Germany in number of hymnbooks. The majority of these cut down on the original 17 verses with the publishers often deciding to start with the 3rd verse which started with "Wir pflügen und wir streuen" (English: We Plough The ...
The poem is not a conventional part of the Classical genre of Theocritan elegy, because it does not mourn an individual. The use of "elegy" is related to the poem relying on the concept of lacrimae rerum, or disquiet regarding the human condition. The poem lacks many standard features of the elegy: an invocation, mourners, flowers, and shepherds.
The poem was set to music by Paul Kelly in his album Nature (2018). The titles of the novels They Shall Have Stars (1956) by James Blish and No Dominion (2006) by Charlie Huston are both taken from the poem. Mithu Sanyal quotes the poem at length in her novel Identitti (2022).
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The poem uses the image of a flowering plant - specifically that of a chasmophyte rooted in the wall of the wishing well - as a source of inspiration for mystical/metaphysical speculation [1] and is one of multiple poems where Tennyson touches upon the topic of the relationships between God, nature, and human life.