And the virtue is irresistible. Are the favourite poets of the eighteenth century classics? Although Arnold's poetry received only mixed reviews and attention during his lifetime, his forays into literary criticism were more successful. He speaks of 'A longing like despair' born of a feeling that once 'we were parts of a single continent. Matthew Arnold is a fascinating character, because his career breaks smoothly into two halves. Now it is just this kind of false estimate which the critical spirit is, it seems to me, bound to resist. Is it to lose the glory of the form, The lustre of the eye? The rush and roar of practical life will always have a dizzying and attracting effect upon the most collected spectator, and tend to draw him into its vortex; most of all will this be the case where that life is so powerful as it is in England.
Arnold therefore is able to link criticism with creative power in his essay, ultimately asserting that writing criticism actually produces in its practitioner a sense of ecstatic creative joy very similar to that enjoyed by the person who engages in creative writing. In fact, they helped to sort of organized it. Arnold was much influenced by this remarkable book. For in poetry the distinction between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true, is of paramount importance. They privileged synthesis and subjective perception, over objective analysis. . The inward man is the same irrespective of clime or time.
In other words, he believed that you could prove that certain books belonged in the canon by objective, non-political criteria. The world seemed to be strangely unreal, without anything real to cling to on grasp. Even the practical consequences of a book are to genuine criticism no recommendation of it, if the book is, in the highest sense, blundering. In university politics and in religious discussions he was a Liberal and the advocate of toleration and comprehension. They contain the true philosophy of an epoch of concentration, dissipate the heavy atmosphere which its own nature is apt to engender round it, and make its resistance rational instead of mechanical.
In turn, the common man will be so influenced by the great ideas that his creative juices reach a boil. In 1836, Arnold was sent to Winchester College, but in 1837 he returned to Rugby School where he was enrolled in the fifth form. When it comes to Victorian critics, Matthew Arnold is unsurpassed. The epochs of Æschylus and Shakespeare make us feel their preëminence. Well, you might be thinking about something now, and come up with the idea before I even say it. This liberty in the use of language was enjoyed by many poets, but we do not find the same kind of fluidity in others. Above all, for the historian this creation of classic personages is inadmissible; for it withdraws the poet from his time, from his proper life, it breaks historical relationships, it blinds criticism by conventional admiration, and renders the investigation of literary origins unacceptable.
But Burke is so great because, almost alone in England, he brings thought to bear upon politics, he saturates politics with thought. From this we see that he has shifted his position from that expressed in the preface to his Poems of 1853. So as a Victorian sage, Arnold attempted to set aesthetic standards for his age, harkening back to the systematic theories of Pope and Burke. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator. It is as old as the human heart. Ruskin, after his pugnacious political economy? Elsewhere he says that Shakespeare's 'expression tends to become a little sensuous and simple, too much intellectualised'.
Covington questions the prevailing critical assumption that Matthew Arnold's poetry fails as art because of its didactic qualities. Reading was no longer viewed solely as educational or as a sacred source of religion; it was a form of entertainment. The superior character of truth and seriousness, in the matter and substance of the best poetry, is inseparable from the superiority of diction and movement marking its style and manner. We've made the critic too much. In 1831, Arnold was tutored by his uncle, the Reverend John Buckland, at Laleham. A Scotchman is used to this world of Scotch drink, Scotch religion, and Scotch manners; he has a tenderness for it; he meets its poet halfway. Eliot praised Arnold's objective approach to critical evaluation, particularly his tools of comparison and analysis, and Allen Tate in his essay Tension in Poetry imitates Arnold's touchstone method to discover 'tension', or the proper balance between connotation and denotation, in poetry.
All right, lets turn to Matthew Arnold. It is this chiefly which gives to our spirits what they can rest upon; and with the increasing demands of our modern ages upon poetry, this virtue of giving us what we can rest upon will be more and more highly esteemed. Doodle with Literature Sunday, January 24, 2010 Touchstone method - Matthew Arnold Matthew Arnold is a Victorian critic and a poet. In other words, Criticism can't only not join the bandwagon of Tory or Whig, but also cannot get involved in any British jingoism that says Britain is better than France, is better than Germany, etc. Arnold's method of criticism is comparative. Arnold says criticism is nothing if it is not related to life.
Arnold died suddenly, of , in the spring of 1888, at and was buried at Laleham, with the three sons whose early loss had shadowed his life. Steeped in classical poetry, and thoroughly acquainted with continental literature, he compares English literature to French and German literature, adopting the disinterested approach he had learned from Sainte-Beuve. It is a result of no little culture to attain to a clear perception that science and religion are two wholly different things. But at the same time Arnold quotes Hallam to show that Shakespeare's style was complex even where the press of action demanded simplicity and directness, and hence his style could not be taken as a model by young writers. Aristotle says that poetry is superior to History since it bears the stamp of high seriousness and truth. Some consider Arnold to be the bridge between Romanticism and Modernism. These restrictions curbed the growth of poetry, and encouraged the growth of prose.