Dover Beach

This article is about the poem. For the novel by Richard Bowker, see Dover Beach (novel).

"Dover Beach" is a lyric poem by the English poet Matthew Arnold.[1] It was first published in 1867 in the collection New Poems, but surviving notes indicate its composition may have begun as early as 1849. The most likely date is 1851.[2]

The title, locale and subject of the poem's descriptive opening lines is the shore of the English ferry port of Dover, Kent, facing Calais, France, at the Strait of Dover, the narrowest part (21 miles) of the English Channel, where Arnold honeymooned in 1851.[2]

Analysis

In Stefan Collini's opinion, "Dover Beach" is a difficult poem to analyse, and some of its passages and metaphors have become so well known that they are hard to see with "fresh eyes".[3] Arnold begins with a naturalistic and detailed nightscape of the beach at Dover in which auditory imagery plays a significant role ("Listen! you hear the grating roar").[4] The beach, however, is bare, with only a hint of humanity in a light that "gleams and is gone".[5] Reflecting the traditional notion that the poem was written during Arnold's honeymoon (see composition section), one critic notes that "the speaker might be talking to his bride".[6]

The sea is calm to-night.
The tide is full, the moon lies fair
Upon the straits; —on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanch'd land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.

Arnold looks at two aspects of this scene, its soundscape (in the first and second stanzas) and the retreating action of the tide (in the third stanza). He hears the sound of the sea as "the eternal note of sadness". Sophocles, a 5th-century BC Greek playwright who wrote tragedies on fate and the will of the gods, also heard this sound as he stood upon the shore of the Aegean Sea.[7][8] Critics differ widely on how to interpret this image of the Greek classical age. One sees a difference between Sophocles interpreting the "note of sadness" humanistically, while Arnold, in the industrial nineteenth century, hears in this sound the retreat of religion and faith.[9] A more recent critic connects the two as artists, Sophocles the tragedian, Arnold the lyric poet, each attempting to transform this note of sadness into "a higher order of experience".[10]

Sophocles long ago
Heard it on the Ægæan, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.[11][12]

Having examined the soundscape, Arnold turns to the action of the tide itself and sees in its retreat a metaphor for the loss of faith in the modern age,[13] once again expressed in an auditory image ("But now I only hear / Its melancholy, long, withdrawing roar"). This fourth stanza begins with an image not of sadness, but of "joyous fulness" similar in beauty to the image with which the poem opens.[14]

The Sea of Faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furl'd.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear[15]
And naked shingles of the world.

The final stanza begins with an appeal to love, then moves on to the famous ending metaphor. Critics have varied in their interpretation of the first two lines; one calls them a "perfunctory gesture ... swallowed up by the poem's powerfully dark picture",[16] while another sees in them "a stand against a world of broken faith".[17] Midway between these is one of Arnold's biographers, who describes being "true / To one another" as "a precarious notion" in a world that has become "a maze of confusion".[18]

The metaphor with which the poem ends is most likely an allusion to a passage in Thucydides's account of the Peloponnesian War (Book 7, 44). He describes an ancient battle that occurred on a similar beach during the Athenian invasion of Sicily. The battle took place at night; the attacking army became disoriented while fighting in the darkness and many of their soldiers inadvertently killed each other.[19] This final image has also been variously interpreted by the critics. Culler calls the "darkling plain" Arnold's "central statement" of the human condition.[20] Pratt sees the final line as "only metaphor" and thus susceptible to the "uncertainty" of poetic language.[21]

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.[22][23]

"The poem's discourse", Honan tells us, "shifts literally and symbolically from the present, to Sophocles on the Aegean, from Medieval Europe back to the present—and the auditory and visual images are dramatic and mimetic and didactic. Exploring the dark terror that lies beneath his happiness in love, the speaker resolves to love—and exigencies of history and the nexus between lovers are the poem's real issues. That lovers may be 'true / To one another' is a precarious notion: love in the modern city momentarily gives peace, but nothing else in a post-medieval society reflects or confirms the faithfulness of lovers. Devoid of love and light the world is a maze of confusion left by 'retreating' faith."[24]

Critics have questioned the unity of the poem, noting that the sea of the opening stanza does not appear in the final stanza, while the "darkling plain" of the final line is not apparent in the opening.[25] Various solutions to this problem have been proffered. One critic saw the "darkling plain" with which the poem ends as comparable to the "naked shingles of the world".[26] "Shingles" here means flat beach cobbles, characteristic of some wave-swept coasts. Another found the poem "emotionally convincing" even if its logic may be questionable.[27] The same critic notes that "the poem upends our expectations of metaphor" and sees in this the central power of the poem.[28] The poem's historicism creates another complicating dynamic. Beginning in the present it shifts to the classical age of Greece, then (with its concerns for the sea of faith) it turns to Medieval Europe, before finally returning to the present.[24] The form of the poem itself has drawn considerable comment. Critics have noted the careful diction in the opening description,[29] the overall, spell-binding rhythm and cadence of the poem[30] and its dramatic character.[31] One commentator sees the strophe-antistrophe of the ode at work in the poem, with an ending that contains something of the "cata-strophe" of tragedy.[32] Finally, one critic sees the complexity of the poem's structure resulting in "the first major 'free-verse' poem in the language".[33]

Composition

According to Tinker and Lowry, "a draft of the first twenty-eight lines of the poem" was written in pencil "on the back of a folded sheet of paper containing notes on the career of Empedocles".[34] Allott concludes that the notes are probably from around 1849–50.[35] "Empedocles on Etna", again according to Allott, was probably written 1849–52; the notes on Empedocles are likely to be contemporary with the writing of that poem.[36]

The final line of this draft is:

And naked shingles of the world. Ah love &c

Tinker and Lowry conclude that this "seem[s] to indicate that the last nine lines of the poem as we know it were already in existence when the portion regarding the ebb and flow of the sea at Dover was composed." This would make the manuscript "a prelude to the concluding paragraph" of the poem in which "there is no reference to the sea or tides".[37]

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help from pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

Arnold's visits to Dover may also provide some clue to the date of composition. Allott has Arnold in Dover in June 1851 and again in October of that year "on his return from his delayed continental honeymoon". To critics who conclude that ll. 1–28 were written at Dover and ll. 29–37 "were rescued from some discarded poem" Allott suggests the contrary, i.e., that the final lines "were written at Dover in late June," while "ll. 29–37 were written in London shortly afterwards".[29]

Influence

William Butler Yeats responds directly to Arnold's pessimism in his four-line poem, "The Nineteenth Century and After" (1929):

Though the great song return no more
There's keen delight in what we have:
The rattle of pebbles on the shore
Under the receding wave.

Anthony Hecht, US Poet Laureate, replied to "Dover Beach" in his poem "The Dover Bitch".[38]

So there stood Matthew Arnold and this girl
With the cliffs of England crumbling away behind them,
And he said to her, "Try to be true to me,
And I'll do the same for you, for things are bad
All over, etc. etc."

The anonymous figure to whom Arnold addresses his poem becomes the subject of Hecht's poem. In Hecht's poem she "caught the bitter allusion to the sea", imagined "what his whiskers would feel like / On the back of her neck", and felt sad as she looked out across the channel. "And then she got really angry" at the thought that she had become "a sort of mournful cosmic last resort". After which she says "one or two unprintable things".

But you mustn't judge her by that. What I mean to say is,
She's really all right. I still see her once in a while
And she always treats me right.[39]

Kenneth and Miriam Allott, referring to "Dover Bitch" as "an irreverent jeu d'esprit", nonetheless see, particularly in the line "a sort of mournful cosmic last resort", an extension of the original poem's main theme.[40]

"Dover Beach" has been mentioned in a number of novels, plays, poems, and films:

The poem is mentioned in:

The poem has also provided a ready source for titles:

Even in the U. S. Supreme Court the poem has had its influence: Justice William Rehnquist, in his concurring opinion in Northern Pipeline Co. v. Marathon Pipe Line Co., 458 US 50 (1982), called judicial decisions regarding Congress's power to create legislative courts "landmarks on a judicial 'darkling plain' where ignorant armies have clashed by night."

Notes

  1. ↑ Rosenblatt, Roger (14 January 1985). "Where Is Our Dover Beach?". Time article. Retrieved 2 August 2007. a brief poem that eventually would be remembered by many more people than would remember the Great Exhibition, indeed would become the most anthologized poem in English
  2. 1 2 Allott, 1965, p. 240.
  3. ↑ Stefan Collini (1988) Arnold pp. 39–40, Oxford University Press, ISBN 0-19-287659-7
  4. ↑ Culler, 1966, p. 39; Honan, 1981, p. 234; Pratt, 2000, pp. 80–81.
  5. ↑ Collini, 1988, p. 39.
  6. ↑ Honan, 1981, p. 234.
  7. ↑ Tinker and Lowry, 1965, pp. 176–178. Tinker and Lowery attempt to discover a specific reference to Sophocles, suggesting passages from Antigone, The Women of Trachis, Oedipus at Colonus, and Philoctetes. But they add that "the Greek author has reference only to the successive blows of Fate which fall upon a particular family which has been devoted to destruction by the gods. The plight described metaphorically by the English poet is conceived to have fallen upon the whole human race."
  8. ↑ Allott, 1965, p. 241. Though Allott concludes that "no passage in the plays [of Sophocles] is strictly applicable" to the passage in "Dover Beach," she feels that the passage from the Trachiniae (The Women of Trachis) comes closest.
  9. ↑ Culler, 1966, p. 40
  10. ↑ Pratt, 2000, p. 81. Pratt goes on to equate this passage to Wallace Stevens' "The Idea of Order at Key West" – "Blessed rage for order.../The maker's rage to order words of the sea."
  11. ↑ Allott, 1965, p. 241. Compare to ll. 80–82 of his "Stanzas from the Grande Chartreuse" which appears to have been written at about the same time. For probable date of composition of "Stanzas from the Grande Chartreuse", see Allott, 1965, p. 285.
  12. ↑ The "distant northern sea" is the English Channel which separates England from continental Europe and is the body of water that forms Dover beach.
  13. ↑ Collini, 1988, p. 39. Collini calls the "Sea of Faith" "a favoured Arnoldian metaphor."
  14. ↑ Culler, 1966, p. 40. Culler describes this as a "lovely, feminine, protective image of the Sea," while Pratt sees not the beauty of the metaphor but its awkwardness and obscurity. (Pratt, 2000, p. 82)
  15. ↑ Honan, 1981, p. 234. Honan sees the "vast edges drear" as a possible memory of Wastwater in the Lake District, which Honan describes as "mountainous grey 'scree' running into translucent depths of water."
  16. ↑ Collini, 1988, p. 40.
  17. ↑ Pratt, 2000, p. 82.
  18. ↑ Honan, 1981, p. 235. "That lovers may be 'true / To one another' is a precarious notion: love in the modern city momentarily gives peace, but nothing else in a postmedieval society reflects or confirms the faithfulness of lovers. Devoid of love and light the world is a maze of confusion left by 'retreating' faith."
  19. ↑ Tinker and Lowry, 1965, p. 175. "Here are to be found the details used by Arnold: a night-attack, fought upon a plain at the top of a cliff, in the moonlight, so that the soldiers could not distinguish clearly between friend and foe, with the resulting flight of certain Athenian troops, and various 'alarms,' watchwords, and battle-cries shouted aloud to the increasing confusion of all."
  20. ↑ Culler, 1966, p. 41.
  21. ↑ Pratt, 2000, p. 82 (emphasis in the original) She points to the final line's "as on": this is the language of simile.
  22. ↑ Honan, 1981, p. 235. Honan notes that John Henry Newman had used the image once to define controversy as a sort of "night battle". He also notes that the image occurs in Arthur Hugh Clough's The Bothie of Tober-na-Vuolich.
  23. ↑ Tinker and Lowry, 1965, p. 175. Tinker and Lowry point out that "there is evidence that the passage about the 'night-battle' was familiar coin among Rugbeians" at the time Arnold attended Rugby and studied there under his father Dr. Thomas Arnold whose keen interest in Thucydides had a distinct impact on his students.
  24. 1 2 Honan, 1981, p. 235.
  25. ↑ Culler, 1966, p. 40; Pratt, 2000, pp. 79–80.
  26. ↑ Culler, 1966, p. 40.
  27. ↑ Pratt, 2000, pp. 79–80.
  28. ↑ Pratt, 2000, p. 80.
  29. 1 2 Allott, 1965, p. 240.
  30. ↑ Collini, 1988, p. 40.
  31. ↑ Honan, 1981, p. 235. Also see "Dover Beach" discussed in the Influence section of this article.
  32. ↑ Pratt, 2000, p. 81.
  33. ↑ Collini, 1988, p. 41.
  34. ↑ Tinker and Lowry, 1940, p. 173.
  35. ↑ Allott, 1965, p. 239.
  36. ↑ Allott, 1965, p. 147.
  37. ↑ Tinker and Lowry, 1940, pp. 174-175.
  38. ↑ "Anthony Hecht - "The Dover Bitch: A Criticism Of Life" - poetry archive - plagiarist.com". plagiarist.com.
  39. ↑ "Dover Bitch," by Anthony Hecht, in Matthew Arnold, A Collection of Critical Essays, edited by David J. DeLaura, Englewood Cliffs, NJ: Prentice Hall, Inc., 1973.
  40. ↑ "Arnold the Poet: (ii) Narrative and Dramatic Poems" by Kenneth and Miriam Allott, in Matthew Arnold edited by Kenneth Allott from the Writers and Their Background series, 1976, Ohio University Press: Athens, Ohio, p. 88.

References

For a more thorough bibliography see Matthew Arnold.

External links

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