Historians as Thomas Hobsbawm has remarked that nineteenth-century debate in theology, politics, philosophy, economics and science were ultimately inseparable from an implied stance toward the bourgeois revolutionary ideals.
The poem makes no particular attempt to follow the clipped, elliptical, semi-conversational style of the more realistic monologues of Robert Browning, but rather presents a more meditative poem, dominated by three extended images that not only carry the meaning of the poem but also provide much of the emotional and imaginative impact.
The first image mixes sight and sound and occupies the entire first section of the poem. The poet begins with a broad general view from the horizon, coming closer to that which is in the forefront of his view, the sea meeting the moon-blanched land, whence comes the disturbing sound.
The deceptive calm of the opening lines is undercut by the grating surf on the beach. The deliberately plain opening, a common poetic practice in Arnold, emphasizes nouns and verbs and their emotional impact.
The second dominant image in the poem is in lines 25 through 28, expressing the emotional impact of the loss of faith.
The individual words add up—melancholy, withdrawing, retreating, vast, drear, naked—re-creating the melancholy sound of the sea withdrawing, leaving behind only a barren and rocky shore, dreary and empty. These images, emphasizing the condition after faith has left, present a void, an emptiness, almost creating a shudder in the reader; it is perhaps a more horrifying image than even the battlefield image with which the poem closes.
The last important extended image closes the poem; it is a very common practice for Arnold to supply such closing, summarizing images in an attempt to say metaphorically what he perhaps cannot express directly.
The calm of the opening lines is deceptive, a dream. Underneath or behind is the reality of life—a confused struggle, no light, nothing to distinguish good from evil, friend from foe; it is the result of the thought suggested by the sound of the surf. The poem makes clear that one is not viewing this battlefield as from a distance; one is in the middle of the fight.
Arnold reinforces the impact of these images with an often subtle but evocative use of sound and syntax. The first fourteen lines may well also suggest a sonnet, since this gives certain appearances that it is a love poem.Below is the solution for Matthew Arnold’s “__ Beach” crossword clue.
This clue was last seen on Sep 20 in the LA Times crossword puzzle. While searching our database we found 1 possible solution matching the query “Matthew Arnold’s “__ Beach””.
So, to call Jesus God’s son defines him as having similar roles and sets him in contestive and imitative relation to imperial claims. God again expresses love for . The signifier here resembles the object it seeks to represent.
It mimics the signified or the concept, takes on some of the object’s qualities. The iconic sign is imitative. For instance the signifier ‘hiss’ seems to capture the actual sound made by the snake.
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Imitation and Education provides an in-depth reassessment of learning by example that places imitation in a larger social context. It is the first book to bring together ancient educational thought and startling breakthroughs in the fields of cognitive science, psychology, and philosophy to reconsider how we learn from the lives of others.