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About this poet

Although remembered now for his elegantly argued critical essays, Matthew Arnold, born in Laleham, Middlesex, on December 24, 1822, began his career as a poet, winning early recognition as a student at the Rugby School where his father, Thomas Arnold, had earned national acclaim as a strict and innovative headmaster. Arnold also studied at Balliol College, Oxford University. In 1844, after completing his undergraduate degree at Oxford, he returned to Rugby as a teacher of classics. After marrying in 1851, Arnold began work as a government school inspector, a grueling position which nonetheless afforded him the opportunity to travel throughout England and the Continent. Throughout his thirty-five years in this position Arnold developed an interest in education, an interest which fed into both his critical works and his poetry. Empedocles on Etna (1852) and Poems (1853) established Arnold's reputation as a poet and in 1857 he was offered a position, which he accepted and held until 1867, as Professor of Poetry at Oxford. Arnold became the first professor to lecture in English rather than Latin. During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.

Meditative and rhetorical, Arnold's poetry often wrestles with problems of psychological isolation. In "To Marguerite—Continued," for example, Arnold revises Donne's assertion that "No man is an island," suggesting that we "mortals" are indeed "in the sea of life enisled." Other well-known poems, such as "Dover Beach," link the problem of isolation with what Arnold saw as the dwindling faith of his time. Despite his own religious doubts, a source of great anxiety for him, in several essays Arnold sought to establish the essential truth of Christianity. His most influential essays, however, were those on literary topics. In "The Function of Criticism" (1865) and "The Study of Poetry" (1880) Arnold called for a new epic poetry: a poetry that would address the moral needs of his readers, "to animate and ennoble them." Arnold's arguments, for a renewed religious faith and an adoption of classical aesthetics and morals, are particularly representative of mainstream Victorian intellectual concerns. His approach—his gentlemanly and subtle style—to these issues, however, established criticism as an art form, and has influenced almost every major English critic since, including T. S. Eliot, Lionel Trilling, and Harold Bloom. Though perhaps less obvious, the tremendous influence of his poetry, which addresses the poet's most innermost feelings with complete transparency, can easily be seen in writers as different from each other as W. B. Yeats, James Wright, Sylvia Plath, and Sharon Olds. Late in life, in 1883 and 1886, Arnold made two lecturing tours of the United States. Matthew Arnold died in Liverpool on April 15, 1888.


Selected Bibliography

Poetry

A Matthew Arnold Birthday Book (1883)
Alaric at Rome: A Prize Poem (1840)
Cromwell: A Prize Poem (1843)
Empedocles on Etna and Other Poems (1852)
Empedocles on Etna: A Dramatic Poem (1900)
Merope: A Tragedy (1858)
New Poems (1867)
Poems: A New Edition (1853)
Poems: Second Series (1855)
The Poems of Matthew Arnold (1965)
The Poetical Works of Matthew Arnold (1950)
The Strayed Reveller and Other Poems (1849)
The Works of Matthew Arnold (1903)

Prose

Essays, Letters, and Reviews by Matthew Arnold Essays, Letters, and Reviews by Matthew Arnold (1960)
Friendship's Garland (1883)
"Charles Augustin Sainte-Beuve," in Encyclopedia Britannica, ninth edition, IX: 162-165 (1886)
"Isaiah of Jerusalem" in the Authorized English Version, with an Introduction, Corrections and Notes (1883)
"Schools," in The Reign of Queen Victoria (1887)
A Bible-Reading for Schools: The Great Prophecy of Israel's Restoration (1872)
A French Eton; or, Middle Class Education and the State (1864)
Arnold as Dramatic Critic (1903)
Civilization in the United States: First and Last Impressions of America (1888)
Complete Prose Works (1960)
Culture and Anarchy (1883)
Culture and Anarchy: An Essay in Political and Social Criticism (1869)
Culture and the State (1965)
Discourses in America (1885)
Education Department (1886)
England and the Italian Question (1859)
England and the Italian Question, (1953)
Essays in Criticism (1865)
Essays in Criticism: Second Series (1888)
Essays in Criticism: Third Series (1910)
Five Uncollected Essays of Matthew Arnold (1953)
General Grant, with a Rejoinder by Mark Twain (1966)
General Grant: An Estimate (1887)
God and the Bible: A Review of Objections to "Literature and Dogma" (1875)
Heinrich Heine (1863)
Higher Schools and Universities in Germany (1874)
Irish Essays, and Others (1882)
Isaiah XLLXVI; with the Shorter Prophecies Allied to It (1875)
Last Essays on Church and Religion (1877)
Letters of Matthew Arnold, 1848-1888 (1895)
Letters of an Old Playgoer (1919)
Letters, Speeches and Tracts on Irish Affairs by Edmund Burke (1881)
Literature and Dogma: An Essay towards a Better Apprehension of the Bible (1873)
Matthew Arnold's Letters: A Descriptive Checklist (1968)
Matthew Arnold's Notebooks (1902)
Mixed Essays (1879)
On Home Rule for Ireland: Two Letters to "The Times" (1891)
On Translating Homer: Last Words: A Lecture Given at Oxford (1862)
On Translating Homer: Three Lectures Given at Oxford (1861)
On the Modern Element in Literature (1869)
On the Study of Celtic Literature (1883)
Poems of Wordsworth (1879)
Poetry of Byron (1881)
Reports on Elementary Schools 1852-1882 (1889)
Schools and Universities on the Continent (1867)
St. Paul and Protestantism; with an Introduction on Puritanism and the Church of England (1883)
The Hundred Greatest Men: Portraits of the One Hundred Greatest Men of History (1879)
The Letters of Matthew Arnold to Arthur Hugh Clough (1932)
The Note-Books of Matthew Arnold (1952)
The Popular Education of France, with Notices of That of Holland and Switzerland (1861)
The Six Chief Lives from Johnson's "Lives of the Poets," with Macaulay's "Life of Johnson," (1878)
The Study of Poetry (1880)
Thoughts on Education Chosen From the Writings of Matthew Arnold (1912)
Unpublished Letters of Matthew Arnold (1923)

The Buried Life

Matthew Arnold, 1822 - 1888
   Light flows our war of mocking words, and yet,  
Behold, with tears mine eyes are wet!  
I feel a nameless sadness o'er me roll.  
   Yes, yes, we know that we can jest,  
We know, we know that we can smile;     
But there 's a something in this breast,  
To which thy light words bring no rest,  
And thy gay smiles no anodyne;  
   Give me thy hand, and hush awhile,  
And turn those limpid eyes on mine,    
And let me read there, love! thy inmost soul.  
  
   Alas! is even love too weak  
To unlock the heart, and let it speak?  
Are even lovers powerless to reveal  
To one another what indeed they feel?       
I knew the mass of men conceal'd  
Their thoughts, for fear that if reveal'd  
They would by other men be met  
With blank indifference, or with blame reprov'd;  
I knew they liv'd and mov'd       
Trick'd in disguises, alien to the rest  
Of men, and alien to themselves—and yet  
The same heart beats in every human breast.  
  
   But we, my love—does a like spell benumb  
Our hearts—our voices?—must we too be dumb?     
  
   Ah, well for us, if even we,  
Even for a moment, can get free  
Our heart, and have our lips unchain'd;  
For that which seals them hath been deep-ordain'd!  
  
   Fate, which foresaw  
How frivolous a baby man would be,
By what distractions he would be possess'd,  
How he would pour himself in every strife,  
And well-nigh change his own identity; 
That it might keep from his capricious play   
His genuine self, and force him to obey,  
Even in his own despite his being's law,  
Bade through the deep recesses of our breast  
The unregarded River of our Life  
Pursue with indiscernible flow its way;   
And that we should not see  
The buried stream, and seem to be  
Eddying at large in blind uncertainty,  
Though driving on with it eternally.  
  
   But often, in the world's most crowded streets,    
But often, in the din of strife,  
There rises an unspeakable desire  
After the knowledge of our buried life,  
A thirst to spend our fire and restless force  
In tracking out our true, original course;     
A longing to inquire  
Into the mystery of this heart which beats  
So wild, so deep in us, to know  
Whence our lives come and where they go.  
And many a man in his own breast then delves,    
But deep enough, alas, none ever mines! 
And we have been on many thousand lines,  
And we have shown, on each, spirit and power,  
But hardly have we, for one little hour,  
Been on our own line, have we been ourselves;      
Hardly had skill to utter one of all  
The nameless feelings that course through our breast,  
But they course on for ever unexpress'd.  
And long we try in vain to speak and act  
Our hidden self, and what we say and do       
Is eloquent, is well—but 'tis not true!  
   And then we will no more be rack'd  
With inward striving, and demand  
Of all the thousand nothings of the hour  
Their stupefying power;     
Ah yes, and they benumb us at our call!  
Yet still, from time to time, vague and forlorn,  
From the soul's subterranean depth upborne  
As from an infinitely distant land,  
Come airs, and floating echoes, and convey      
A melancholy into all our day.  
  
   Only—but this is rare—  
When a belovèd hand is laid in ours,  
When, jaded with the rush and glare  
Of the interminable hours,        
Our eyes can in another's eyes read clear,  
When our world-deafen'd ear  
Is by the tones of a lov'd voice caress'd—  
   A bolt is shot back somewhere in our breast  
And a lost pulse of feeling stirs again!       
The eye sinks inward, and the heart lies plain,  
And what we mean, we say, and what we would, we know,  
A man becomes aware of his life's flow,  
And hears its winding murmur, and he sees  
The meadows where it glides, the sun, the breeze.
  
   And there arrives a lull in the hot race  
Wherein he doth for ever chase  
The flying and elusive shadow, Rest.  
An air of coolness plays upon his face,  
And an unwonted calm pervades his breast. 
   And then he thinks he knows  
The hills where his life rose,  
And the Sea where it goes.

This poem is in the public domain.

This poem is in the public domain.

Matthew Arnold

Matthew Arnold

Meditative and rhetorical, Matthew Arnold's poetry often wrestles with problems of psychological isolation and has influenced writers as different from each other as W. B. YeatsJames Wright, and Sylvia Plath.

by this poet

poem
Strew on her roses, roses,   
  And never a spray of yew.   
In quiet she reposes:   
  Ah! would that I did too.   
  
Her mirth the world required:
  She bathed it in smiles of glee.   
But her heart was tired, tired,   
  And now they let her be.   
  
Her life was turning, turning,   
  In mazes of heat and
poem
Go, for they call you, Shepherd, from the hill;
  Go, Shepherd, and untie the wattled cotes:
    No longer leave thy wistful flock unfed,
  Nor let thy bawling fellows rack their throats,
    Nor the cropp'd grasses shoot another head.
      But when the fields are still,
  And the tired men and dogs all gone to
poem
We were apart; yet, day by day,
I bade my heart more constant be.
I bade it keep the world away,
And grow a home for only thee;
Nor fear'd but thy love likewise grew,
Like mine, each day, more tried, more true.

The fault was grave! I might have known,
What far too soon, alas! I learn'd—
The heart can bind