Save time and effort. Its business is to do this with inflexible honesty, with due ability; but its business is to do no more, matthew arnold essays, and to leave alone all questions of practical consequences and applications,—questions which will never fail to have due prominence given to them. Matthew arnold essays reflection though, I have realized that there are some texts which I will remember for a long time — and those texts are ones which use language in a significant, interesting and original way. I'm fine with missing my deadline. This fact was clearly apparent in his poems, and it is even more apparent in these Essays. Militarism and strict law adherence
"Dover Beach" By Matthew Arnold Literature Review Examples
Home — Essay Samples — Literature — Writers — Matthew Arnold. We use cookies to personalyze your web-site experience, matthew arnold essays. Essay examples. apply filters cancel. Critical Analysis of Dover Beach by Matthew Arnold words 5 Pages. Famous poet and literary critic, Matthew Arnold was born on 24th December as the second child of Mary Arnold and Thomas Arnold. He began his career as a poet, getting recognition since his youth as a student at the Rugby School, matthew arnold essays, where his father Matthew Arnold. Matthew Arnold was born in in Laleham-on-Thames in Middlesex County, England. His disposition was described as active, matthew arnold essays, but To consider the social function of art is to endeavor to contemplate a question that has haunted great literary critics since matthew arnold essays Greek philosophers Aristotle, Plato, and Socrates.
A number of social changes caused an increasing number of people to question their faith and Feeling stressed about your essay? Starting from 3 hours delivery. Dover Beach The Scholar-Gipsy Thyrsis Culture and Anarchy Literature and Dogma. Bill Bryson Essays Eudora Welty Essays A Raisin in The Sun Essays Hamlet Essays Macbeth Essays Othello Essays Poetry Essays Romeo and Juliet Essays Satire Essays To Kill a Mockingbird Essays. Filter Selected filters. Themes Poetry Christianity Stanza Sonnet Sestet Narrative poetry Dover Beach. Top 10 Similar Topics George Orwell Ralph Waldo Emerson Langston Hughes Walt Matthew arnold essays William Hazlitt Edgar Allan Poe William Blake Ernest Hemingway Virginia Woolf Barbara Kingsolver. Got it.
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Matthew Arnold as a Poet and Critic. Eric Armstead Words 2 Pages 5 Works Cited. Eric Armstead. Essay on the Victorian View of Dover Beach Words 2 Pages 2 Works Cited. Essay on the Victorian View of Dover Beach. Militarism and strict law adherence Sello Duiker offer readers a criticism of a society that separates the social classes. Both poets emphasise the segregation of the wealthy the group that society The dramatic monologue form used by both Robert Browning and Matthew Arnold in their poems My Last Duchess and The Forsaken Merman, respectively, serves to comment upon the condition of a woman without physically introducing a female into the Matthew Arnold was born in in Laleham-on-Thames in Middlesex County, England. An English review briefly defines it by saying that "it applies to the fat-headed respectable public in general.
The Philistine portion of the English press, by which we mean the considerably larger portion, received Mr. Arnold's novel programme of criticism with the uncompromising disapprobation which was to be expected from a literary body, the principle of whose influence, or indeed of whose being is its subservience, through its various members, to certain political and religious interests. Arnold's general theory was offensive enough; but the conclusions drawn by him from the fact that English practice has been so long and so directly at variance with it, were such as to excite the strongest animosity. Chief among these was the conclusion that this fact has retarded the development and vulgarised the character of the English mind, as compared with the French and the German mind.
This rational inference may be nothing but a poet's flight; but for ourselves, we assent to it. It reaches us too. The facts collected by Mr. Arnold on this point have long wanted a voice. It has long seemed to us that, as a nation, the English are singularly incapable of large, of high, of general views. They are indifferent to pure truth, to la verité vraie. Their views are almost exclusively practical, and it is in the nature of practical views to be narrow. They seldom indeed admit a fact but on compulsion; they demand of an idea some better recommendation, some longer pedigree, than that it is true. That this lack of spontaneity in the English intellect is caused by the tendency of English criticism, or that it is to be corrected by a diversion, or even by a complete reversion, of this tendency, neither Mr.
Arnold nor ourselves suppose, nor do we look upon such a result as desirable. The part which Mr. Arnold assigns to his reformed method of criticism is a purely tributary part. Its indirect result will be to quicken the naturally irrational action of the English mind; its direct result will be to furnish that mind with a larger stock of ideas than it has enjoyed under the time-honoured Tory of Whig and Tory , High-Church and Low-Church organs. We may here remark, that Mr. Arnold's statement of his principles is open to some misinterpretation,—an accident against which he has, perhaps, not sufficiently guarded it. For many persons the word practical is almost identical with the word useful , against which, on the other hand, they erect the word ornamental.
Persons who are fond of regarding these two terms as irreconcilable, will have little patience with Mr. Arnold's scheme of criticism. They will look upon it as an organised preference of unprofitable speculation to common sense. But the great beauty of the critical movement advocated by Mr. Arnold is that in either direction its range of action is unlimited. It deals with plain facts as well as with the most exalted fancies; but it deals with them only for the sake of the truth which is in them, and not for your sake, reader, and that of your party. It takes high ground , which is the ground of theory. It does not busy itself with consequences, which are all in all to you. Do not suppose that it for this reason pretends to ignore or to undervalue consequences; on the contrary, it is because it knows that consequences are inevitable that it leaves them alone.
It cannot do two things at once; it cannot serve two masters. Its business is to make truth generally accessible, and not to apply it. It is only on condition of having its hands free, that it can make truth generally accessible. We said just now that its duty was, among other things, to exalt, if possible, the importance of the ideal. We should perhaps have said the intellectual; that is, of the principle of understanding things. Its business is to urge the claims of all things to be understood. If this is its function in England, as Mr. Arnold represents, it seems to us that it is doubly its function in this country. Here is no lack of votaries of the practical, of experimentalists, of empirics. The tendencies of our civilisation are certainly not such as foster a preponderance of morbid speculation.
Our national genius inclines yearly more and more to resolve itself into a vast machine for sifting, in all things, the wheat from the chaff. American society is so shrewd, that we may safely allow it to make application of the truths of the study. Only let us keep it supplied with the truths of the study, and not with the half-truths of the forum. Let criticism take the stream of truth at its source, and then practice can take it half-way down. When criticism takes it half-way down, practice will come poorly off. If we have not touched upon the faults of Mr. Arnold's volume, it is because they are faults of detail, and because, when, as a whole, a book commands our assent, we do not incline to quarrel with its parts.
Some of the parts in these Essays are weak, others are strong; but the impression which they all combine to leave is one of such beauty as to make us forget, not only their particular faults, but their particular merits. If we were asked what is the particular merit of a given essay, we should reply that it is a merit much less common at the present day than is generally supposed,—the merit which pre-eminently characterises Mr. Arnold's poems, the merit, namely, of having a subject. Each essay is about something. If a literary work now-a-days start with a certain topic, that is all that is required of it; and yet it is a work of art only on condition of ending with that topic, on condition of being written, not from it, but to it. If the average modern essay or poem were to wear its title at the close, and not at the beginning, we wonder in how many cases the reader would fail to be surprised by it.
A book or an article is looked upon as a kind of Staubbach waterfall, discharging itself into infinite space. If we were questioned as to the merit of Mr. Arnold's book as a whole, we should say that it lay in the fact that the author takes high ground.
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