“The Progress of Poesy” appeared during a period of transition in English poetry. The existence of masters such as William Shakespeare and John Dryden proves that the Muses have sought residence in England, or “Albion” with its “sea-encircled coast” (Line 82). Though the Muses, who in Greek mythology are responsible for poetic inspiration, take up residence in England, the nation’s poetry production is stagnant. “The Progress of Poesy” responds to this stagnation by reestablishing a connection between English and classical verse. Through the use of classical allusion, forms, and philosophy, Gray traces a throughline from poetry’s origin to its current state in England where it is “heard no more” (Line 111). This state is only temporary, however. Gray’s speaker envisions and presents their new form of poetry as a way to break free from the current poetic stagnation and to further establish England as the rightful inheritor of the Greek Muses.

“The Progress of Poesy” is dense with classical allusions—or references to classical texts, mythology, and authors. The speaker relies on allusions to develop his conceit and argument about English poetry and its ties to the classical world. Not only do allusions to Muses (Lines 28, 56, 199), the god Jove (Lines 21, 57), and the “Aeolian lyre” (Lines 1, 107) that bookends the poem, build an implicit connection between the speaker’s contemporary poetry and classical works, the shared knowledge that such references imply solidifies that same connection.