Gonzales, Analysa M

September 28, 2008

Lycidas
Claiming its roots from the early second and third centuries in Greek poetry,

the pastoral elegy has often been used for the purpose of expressing a grievance

for one who has died. Included in an elegy is both the mourning of the death,

followed by a reflection of their effect on the world through praising of their virtues.

John Milton’s Lycidas served that purpose of personal consolation about the death of

his best friend, King. A similar idea is presented, though through a slightly deviating

structure, in John Steinbeck’s Grapes of Wrath when Ma and Tom Joad met for the

last time. The deaths of both King (Lycidas) and Casy are reflected upon and their

lives celebrated with a similar ideal that much good spawns from even the greatest

losses.

Both Milton and Steinbeck present the idea that the deaths are grave matters

which “must not [go] unwept…[or] without the meed of som melodious tear,” (13,

Lycidas). Though they all mourn in differing ways, earlier chapters of the Grapes of

Wrath provoke a burdening sadness when Tom describes the circumstances of

Casy’s death. Within the very same context, both passages seem to emphasize and

play on an overwhelming feeling that the loved ones, King and Casy, are now gone.

Though Steinbeck does not specifically name Casy nor Tom as shepherds

within the rather brief scene of the chapter, a lot can be said about the meaning of

those roles that the shepherd plays by comparing Tom’s dialogue to definitions

provides within the context of the Lycidas poem. Milton states that “[he and

Lycidas] were nurst upon the self-same hill, [and] fed the same flock,” (23). This

leads the reader to believe both that the narrator and Lycidas lived under similar

ideals (or were taught by the same master), and that the two were shepherds in the

same pasture. Steinbeck presents an extremely similar idea, when Tom states that
 Gonzales, Analysa M
September 28, 2008
Lycidas
he finds it “funny how [he] remembers everything… [even when Casy] didn’t think

[he] was even listening,” (pg 418). In that case, Tom and Casy are the shepherds in

the same pasture who share the same teachings and ideals.

After the mourning of their losses and an application for a continuation in

ideals and virtues, both Steinbeck and Milton present a closing of deep consolation.

Though bluntly stated, Ma Joad is the first to state that “[Casy] was a good man,”

(pg 418), as she had heard of his sacrifice when he repudiated the corrupt authority

who had committed a violation of a natural right to all people by starving them.

Milton does the same in first presenting shepherds and nature as “Daffadillies [who]

fill their cups with tears,” (150), and then by shifting to a very line which tells them

to “weep no more,” (165). His reasoning is much like Ma’s as he has come to the

conclusion that regardless of death, “Lycidas’ sorrow is not dead… [Though his

body] sunk low, [his spirit] [a]mounted high,”(166-172).

The last dividend of consolation occurs within the concluding lines of both the

poem and the novel’s scene, as both present the idea of rebirth in a sense to serve

as an explanation for both Casy and King’s overall significance. This rebirth occurs

in the idea of continuity of ideals of virtues of their previous beholder. In the Grapes

of Wrath Tom states that he plans to do “what Casy [has] done,” (419), which was

living his life to benefit others through the common good. Though perceived

differently, Milton states that King, too, experienced a rebirth in the sense that all of

the land has been replenished by using a similar conclusion. “At last he rose… to

fresh Woods and Pastures new,” (193).

 Gonzales, Analysa M
September 28, 2008
Lycidas
Both Milton and Steinbeck wrote these passages as a last requiem for those

departed, important points of both their lives and deaths presented throughout.

Furthermore, it is made clear by the conclusion of both that while death is seen as

an occurrence in which grievances are given, death is not always completely bad.

Likened to a wildfire, much life passes. Yet from loss, can often come a greater

good.