IntroductionMatthew Arnold Foremost poets and critics of the 19th century Father of modern literary criticism Wrote extensively on social and cultural issues, religion, and education
Arnold‟s most famous piece of literary criticism is his essay “TheStudy of Poetry.”In this work, Arnold is fundamentally concerned with poetry‟s “highdestiny;” he believes that “mankind will discover that we have toturn to poetry to interpret life for us, to console us, to sustain us” asscience and philosophy will eventually prove flimsy and unstable.
At the root of Arnold‟s argument is his desire to illuminate and preservethe poets he believes to be the touchstones of literature, and to askquestions about the moral value of poetry that does not champion truth,beauty, valor, and clarity.
According to ArnoldThe future of poetry is immense, because in poetry, where it is worthy of its highdestinies, our race, as time goes on, will find an ever surer and surer stay.There is not a creed which is not shaken, not an accredited dogma which is notshown to be questionable, not a received tradition which does not threaten todissolve.Our religion has materialised itself in the fact, in the supposed fact; it has attachedits emotion to the fact, and now the fact is failing it.But for poetry the idea is everything; the rest is a world of illusion, of divine illusion.Poetry attaches its emotion to the idea; the idea is the fact.The strongest part of our religion to-day is its unconscious poetry
Victorian CriticismArt and Morality: Art for Art’s sakeCarlyle Ruskin : Moral view should be the benchmark to judge thework of literature. Art should be for the betterment of life.Art and Aesthetic pleasure: Art for Art’s sakeWalter Pater and Oscar Wilde: Aesthetic and artistic delight should be thebenchmark to judge the work of literature. Art should be for delight andpleasure of mankind.
Mathew Arnold – The CriticThe business of criticism, is not to find fault nor to display the critic‟s own learningor influence, but it is to know „the best which has been thought and said in theworld‟ and by using this knowledge to create a current of fresh and free thought.The Study of Poetry: The first essay in the 1888 volume was originally published as thegeneral introduction to T.H. Ward‟s anthology, The English Poets ( 1880)His Classicism: He did not like the spasmodic expression of Romanticism. He advocateddiscipline in writing and recommended the classical writers.
He says-We should conceive of it as capable of higher uses, and called to higherdestinies, than those which in general men have assigned to it hitherto. Moreand more mankind will discover that we have to turn to poetry to interpretlife for us, to console us, to sustain us.Without poetry, our science will appear incomplete; and most of what nowpasses with us for religion and philosophy will be replaced by poetry.If we conceive thus highly of the destinies of poetry, we must also set ourstandard for poetry high, since poetry, to be capable of fulfilling such highdestinies, must be poetry of a high order of excellence. We must accustomourselves to a high standard and to a strict judgment.
A MoralistAs a critic Arnold is essentially a moralist, and has very definite ideas aboutwhat poetry should and should not be. A poetry of revolt against moral ideas,he says, is a poetry of revolt against life, and a poetry of indifference tomoral ideas is a poetry of indifference to life.
Aristotle says that poetry is superior toHistory since it bears the stamp of highseriousness and truth. If truth andseriousness are wanting in the subject matterof a poem, so will the true poetic stamp ofdiction and movement be found wanting inits style and manner. Hence the two, thenobility of subject matter, and thesuperiority of style and manner, areproportional and cannot occur independently.Arnold took up Aristotles view, asserting thattrue greatness in poetry is given by the truthand seriousness of its subject matter, and bythe high diction and movement in its styleand manner, and although indebted to JoshuaReynolds for the expression grand style,Arnold gave it a new meaning when he usedit in his lecture On Translating Homer (1861): I think it will be found that that the grandstyle arises in poetry when a noble nature,poetically gifted, treats with simplicity orwith a severity a serious subject. According to Arnold, Homer is the best modelof a simple grand style, while Milton is thebest model of severe grand style. Dante,however, is an example of both.
Future of PoetryThe future of poetry is immense, because in poetry, our race, as time goeson, will find an even surer and surer stay. There is not a creed which is notshaken. But for poetry, the idea is everything; the rest is a world ofilluision, of divine illusion. Poetry attaches emotion to the idea,; the idea isa fact. The strongest part of our religion, to-day is its unconscrious poetry.‟We have to turn to poetry to interpret life for us, to console us, to sustainus. Without poetry, our science will appear incomplete, and most of whatnow passes with us for religion and philosophy will be replaced by poetry.
Poetry is Criticism of Life-Arnold asserts that literature, and especially poetry, is„Criticism of life’.- In poetry, this criticism of life must conform to the laws of poetic truthand poetic beautyTruth and seriousness of matter, felicity and perfection of diction andmanner, as are exhibited in the best poets, are what constitutes acriticism of life.
Key components of PoetryThus, the superior character of truth and seriousness, in the matter andsubstance of the best poetry, is inseparable from the superiority of diction andmovement marking its style and manner
Even Chaucer, in Arnolds view, in spite of his virtues such asbenignity, largeness, and spontaneity, lacks seriousness.Burns too lacks sufficient seriousness, because he was hypocriticalin that while he adopted a moral stance in some of his poems, in hisprivate life he flouted morality.
Return to Classical valuesArnold believed that a modern writer should be aware that contemporary literature is builton the foundations of the past, and should contribute to the future by continuing a firmtradition. Quoting Goethe and Niebuhr in support of his view, he asserts that his age suffersfrom spiritual weakness because it thrives on self-interest and scientific materialism, andtherefore cannot provide noble characters such as those found in Classical literature.He urged modern poets to look to the ancients and their great characters and themes forguidance and inspiration. Classical literature, in his view, possess pathos, moral profundityand noble simplicity, while modern themes, arising from an age of spiritual weakness, aresuitable for only comic and lighter kinds of poetry, and dont possess the loftiness to supportepic or heroic poetry.Arnold turns his back on the prevailing Romantic view of poetry and seeks to revive theClassical values of objectivity, urbanity, and architectonics. He denounces the Romantics forignoring the Classical writers for the sake of novelty, and for their allusive (Arnold uses theword suggestive) writing which defies easy comprehension.
Work Citedhttp://www.english-literature.org/essays/arnold.phphttp://en.wikipedia.org/wiki/Matthew_ArnoldArnolds evaluations of the Romantic poets such as Wordsworth, Byron,Shelley, and Keats are landmarks in descriptive criticism, and as a poet-critic he occupies an eminent position in the rich galaxy of poet-critics ofEnglish literature.