On the Receipt of My Mother's Picture" (1798) also known as "On the Receipt of My
Mother's Picture Out of Norfolk" was an elegy written by the English poet William
Cowper. Cowper’s mother, Ann Cowper died when he was 6 years old. Later when he was
58 years old he received a picture from his cousin, Ann Bodham in 1790 which inspired him
to write the elegy
Summary of the poem
The poet remembers the language of his mother. Poet’s life had been rough without his
mother and her kind words. He remembers her sweet smile which can emanate from only her
lips; which had soothed him in his childhood. Even though he cannot hear her voice now, he
remembers her words vividly softly urging him not to grieve and to chase his fears away. He
remembers her gentle intelligent eyes which still shines on him in the same way. The poet
expresses his gratitude to the immortalizing power of art which can baffle/obstruct the cruel
and oppressive claim of time.
Cowper welcomes his mother’s memories fuelled by the unexpected picture of his mother.
He feels honored by his mother’s affectionate presence as she was absent for such a long
time. He is willing to obey gladly as if the rules were laid down by her. Even though her face
in the picture renews his grief as a son (filial grief), his imagination will “weave a charm”,
i.e., create a magic to relieve him, by immersing him in a heavenly dream (“Elysian reverie”),
though momentary, in which she comes alive.
The poet then reveals his plight when he lost his mother forever. He launches a series of
questions which reveals the pain he went through during that episode. He asks her whether
she knew about the tears he shed. Was her spirit hovering over her broken and sorrow-filled
son whose life’s journey had just begun? He imagines that she must have consoled him with a
kiss, or a tear if souls/spirits can weep in happiness. He assumes that she is smiling in the
affirmative.
He remembers the slow tolling of the death bell on her burial day, the hearse which carried
her away slowly and he drew in a long sigh and wept a last farewell to his beloved mother.
He vouchsafes that his memory of her burial day is still fresh in his mind. (All these
memories create a pang of distress in the minds of the readers as well.) He contemplates that
in her world adieus and farewell might be unfamiliar concepts. He wishes to meet her again
on that peaceful shore so that he does not have to utter the parting words again.
He remembers how his mother’s maidens (possibly referring to her attendees or friends or
relatives) filled with grief and concern for him often gave him promises of his mother’s quick
return. He wished for her return passionately believing in their false promises for a long time.
The disappointment still lasts in him and he feels duped every day and tomorrow to follow.
Thus after many sad tomorrows his “stock of infant sorrow” was spent he had to resign to his
plight moaning less for his mother even though he could never forget her.
He then goes on to lament about the loss of their pastoral house. In the place where they once
lived their names are not heard anymore, children of other people walking in his nursery. He
remembers his gardener Robin, who used to drive him to his school in his bright, but cheap
coach while the poet was wrapped in scarlet shawl and velvet cap. All this has become a
Mother's Picture Out of Norfolk" was an elegy written by the English poet William
Cowper. Cowper’s mother, Ann Cowper died when he was 6 years old. Later when he was
58 years old he received a picture from his cousin, Ann Bodham in 1790 which inspired him
to write the elegy
Summary of the poem
The poet remembers the language of his mother. Poet’s life had been rough without his
mother and her kind words. He remembers her sweet smile which can emanate from only her
lips; which had soothed him in his childhood. Even though he cannot hear her voice now, he
remembers her words vividly softly urging him not to grieve and to chase his fears away. He
remembers her gentle intelligent eyes which still shines on him in the same way. The poet
expresses his gratitude to the immortalizing power of art which can baffle/obstruct the cruel
and oppressive claim of time.
Cowper welcomes his mother’s memories fuelled by the unexpected picture of his mother.
He feels honored by his mother’s affectionate presence as she was absent for such a long
time. He is willing to obey gladly as if the rules were laid down by her. Even though her face
in the picture renews his grief as a son (filial grief), his imagination will “weave a charm”,
i.e., create a magic to relieve him, by immersing him in a heavenly dream (“Elysian reverie”),
though momentary, in which she comes alive.
The poet then reveals his plight when he lost his mother forever. He launches a series of
questions which reveals the pain he went through during that episode. He asks her whether
she knew about the tears he shed. Was her spirit hovering over her broken and sorrow-filled
son whose life’s journey had just begun? He imagines that she must have consoled him with a
kiss, or a tear if souls/spirits can weep in happiness. He assumes that she is smiling in the
affirmative.
He remembers the slow tolling of the death bell on her burial day, the hearse which carried
her away slowly and he drew in a long sigh and wept a last farewell to his beloved mother.
He vouchsafes that his memory of her burial day is still fresh in his mind. (All these
memories create a pang of distress in the minds of the readers as well.) He contemplates that
in her world adieus and farewell might be unfamiliar concepts. He wishes to meet her again
on that peaceful shore so that he does not have to utter the parting words again.
He remembers how his mother’s maidens (possibly referring to her attendees or friends or
relatives) filled with grief and concern for him often gave him promises of his mother’s quick
return. He wished for her return passionately believing in their false promises for a long time.
The disappointment still lasts in him and he feels duped every day and tomorrow to follow.
Thus after many sad tomorrows his “stock of infant sorrow” was spent he had to resign to his
plight moaning less for his mother even though he could never forget her.
He then goes on to lament about the loss of their pastoral house. In the place where they once
lived their names are not heard anymore, children of other people walking in his nursery. He
remembers his gardener Robin, who used to drive him to his school in his bright, but cheap
coach while the poet was wrapped in scarlet shawl and velvet cap. All this has become a
