E212: British Literature since 1760

Matthew Arnold Study Questions

Al Drake. 520 Hum. T/Th. 7:30-8:30 | ajdrake@ajdrake.com

"Dover Beach"

1. Describe “Dover Beach” as a Greater Romantic Lyric -- characterize the three stages as they occur specifically in Arnold's poem. Do you find the affective resolution convincing? Why or why not?

2. Explore Arnold's treatment of religion: What is the "Sea of Faith"? How does the phrase “bright girdle furled” involve Carlyle's metaphor of clothes? What “social prophecy” does Arnold make about the consequences of Europe's loss of Christian faith?

3. How does the speaker's lament that “the world . . . / Hath really neither joy, nor love, nor light, / Nor certitude, nor peace, nor help for pain” amount to a rejection of Wordsworth's “religion of nature”?

4. At what point does Arnold's mimetic description of nature turn into an investigation of emotional and spiritual matters? Why does he enlist the classical Greek tragedian Sophocles -- not the Romantic Wordsworth -- as his authority for doing so? How does Arnold reject Wordsworthian individualism?

"The Buried Life"

5. How can this poem be compared to Wordsworth's "Intimations of Immortality"? What is the speaker searching for that might compare to the object sought in "Intimations"?

6. What is the "buried life"? Is it ever accessible, either in part or in full? What obstacles hinder us when we try to gain access to it?

7. What accusation does the speaker make against language? What is the relationship between language and emotional expression? What, if anything, does the speaker's treatment of language suggest about Arnold's view of poetry's therapeutic value?

8. What solution does the poem offer for alleviating the individual's isolation and inability to render the world morally intelligible? Do you find that solution convincing? Why or why not?

"The Function of Criticism at the Present Time"

9. What is the nature of the "critical effort" (1514), and what, according to Arnold, is the "highest function of man" (1515)? How do we know this to be so? Can criticism fulfil this highest function, or is it the case that only art can do so?

10. What are the elements with which literary genius works? What precisely is the "grand work" of literary genius? What is it not? To what extent is literary genius therefore dependent upon the age in which it works? (Cf. 1516)

11. What is the relationship between the "critical power" and the "creative power" (1516)? Why can't there be a truly great period of literary creation without criticism? What, for instance, was the problem with the romantics' exercise of their creative genius? (1517-18)

12. How does Arnold analyze the French Revolution from pages 1517-18? What was the Revolution's greatest strength, and what was its "greatest error"? How does this analysis of the Revolution relate to Arnold's claims about "the function of criticism at the present time"?

13. How is Edmund Burke's career, which Arnold refers to from 1518-19, an example of "living by ideas" and therefore a counterbalance to the errors of the French Revolutionaries? How does Arnold explain his phrase "living by ideas" (1520)?

14. What notion "hardly enters into an Englishman's thoughts" (1521)? How is this missing notion essential to criticism? How does Arnold define criticism and its goals on 1521-22? For example, what one word sums up the rule criticism ought to follow?

15. What forces in current British life, according to Arnold, are getting in the way of intellectual progress? (1523-25)? What is his complaint about the newspaper headline "Wragg is in custody"?

16. What objections does Arnold anticipate from 1525 onwards against his view of British society's need for critical activity? What social vision is he offering -- who or what will be the agent of change, and when will that change come about?

17. How does Arnold finally define criticism? (1527)

18. How does Arnold compare to John Stuart Mill in the objects of his criticism? In what might he differ from Mill?

19. On 1527, Arnold describes his notions of the modern nation and the individual's place within it. How might those notions, for those who have read T.S. Eliot's claims about poetry and criticism in "Tradition and the Individual Talent," be a source for the later author's ideas?

Edition: Abrams, M.H. et al. The Norton Anthology of English Literature, Volume 2. Seventh edition. New York: Norton, 2000.