Summary and Analysis of “Dover Beach” (1867)
Introduction to the Poem: The poem “Dover Beach” was published in 1867. The poet has expressed pessimism in this poem. The world is full of misery. Even the Greek poet Sophocles sang it. But in olden times men had faith and love for each other, but that they have now lost and instead fight with each other. The poet is reminded of it by ebb and flow of the sea at the Dover beach.
Summary of Dover Beach
One night, the speaker of “a Beach” sits with a woman inside a house, looking out over the English Channel near the town of Dover. On the coast of France, they see the lights just twenty miles away, and the ocean is calm and peaceful.
When the light over in France suddenly extinguishes, the speaker focuses on the English side, which remains tranquil. He trades visual imagery for aural imagery, describing the “grating roar” of the pebbles being pulled out by the waves. He finishes the first stanza by calling the music of the world an “eternal note of sadness.”
The next stanza flashes back to ancient Greece, where Sophocles heard this same sound on the Aegean Sea and was inspired by it to write his plays about human misery.
Stanza three presents the primary metaphor of the poem, with “The Sea of Faith / Was once too, at the full, and round earth’s shore.” The phrase indicates that faith fads from society just as the tide is from the shore. Through melancholy diction, the speaker laments this decrease of belief.
In the final stanza, the speaker directly addresses his beloved who sits next to him, asking that they always be true to one another and to the world that is laid out before them. He warns, however, that the world’s beauty is only an illusion, since it is, in fact, a battlefield full of people fighting in absolute darkness.
Summary in Points
- In the first stanza, the poet sees the calm sea in full tide at the Dover beach.
- In the second stanza, the roar of the ebbing sea strikes a note of sadness in his mind.
- In the third stanza, he says that Sophocles was reminded of human misery as he heard the roar of the sea-waves at the Greek coast.
- In the fourth stanza, the poet talks, that once the sea of faith girdled this earth, but it is now retreating.
In the last stanza, he asks us to love each other as this world is really a joyless place.
“Dover Beach” by Matthew Arnold is a lyric poem set in the vicinity of a Dover, along the southeast bank of England, where Arnold and his new spouse spent their honeymoon in 1851. It is accepted that the poet composed the first draft of “Dover Beach” while here, experiencing the English Channel toward the coast of France, around twenty-six miles away. Arnold and his wife are frequently viewed as the models for the speaker and audience in the poem, albeit any young man and woman could represent the two figures in the story, caught in a moment of their initial lives.
“Dover Beach” is most often classified as a dramatic monologue, a poetic form that Alfred, Lord Tennyson, and especially Robert Browning, found extremely attractive. The monologue, or poem spoken by a single voice, is made dramatic by the presence of a silent audience of one or more listeners, whose responses may be indicated by the speaker, or persona. In this way, the poet may be empowered to express views using another person’s voice, as William Shakespeare is known for doing.
This strategy may have been particularly attractive to Arnold, for the views of his speaker are diametrically opposed to his own education and upbringing. Matthew was six years old when he was moved into the Rugby School after his clergyman father Thomas Arnold became its headmaster or principal. As headmaster, Thomas Arnold gained a reputation for educational reform, based on his commitment to the high seriousness of making students aware of the moral as well as the social issues that would make them responsible citizens.
“Dover Beach” has often been read as a kind of seismological record of the shock waves in traditional religion brought about by the New Science in the mid-nineteenth century. The geology of Charles Lyell and others was forcing Europeans and Americans to rethink how life began on the planet. Lyell’s discoveries of fossils dating back more than one million years were making it increasingly difficult to accept the traditional notion in the book of Genesis that the world is the work of a creator a mere six or seven thousand years ago. By 1851, when “Dover Beach” was probably written, Charles Darwin, Alfred Russell Wallace, and other scientists had already theorized the essentials of evolution, but it would take Darwin another eight years to publish his findings. Even then, Darwin published On the Origin of Species by Means of Natural Selection (1859) only at the urging of his friends, who warned him that others would publish first if he did not set aside his concerns for the devastating moral and spiritual consequences of challenging the traditional story of how life began. It is probably no coincidence that Arnold himself postponed the publication of “Dover Beach” until 1867.
The poem begins with a naturalistic scene, clearly within the Romantic tradition established by William Wordsworth. Like Wordsworth, Arnold understands the elegance and power of simple language: “The sea is calm tonight./ The tide is full, the moon lies fair/ Upon the straits.” As often noted, the first stanza contains fourteen lines and the second and third stanzas have six and eight lines, respectively, suggesting the sonnet form, but without its more complicated meter and rhyme systems. From its initial visual images, the first stanza and the subsequent two stanzas move toward the dominance of auditory images. The shift is justified by the obviously limited opportunity to see, even with moonlight, but also by the strong impact of the waves breaking on the beach. By the first stanza’s end, the persona, or speaker, has established the poem’s central metaphor of the waves’ “tremulous cadence slow” to represent an “eternal note of sadness.” Additionally, a mere five lines into the poem, the voice has introduced a listener in the scene—telling the reader to “Come to the window”—setting up a tension: Who is the listener? What will be the effect of the melancholy poetic statement on that listener?
This “eternal note” draws the persona further from the directly visualized opening scene with its simple but strong language. The allusion to the ancient Greek tragic dramatist Sophocles offers a context for the speaker’s growing “sadness.” (Arnold was among one of the last generations for whom a classical education entailed learning ancient Greek and Latin to read the classics in their original languages.) The allusion also draws the poem into the more didactic strategy of a statement—asserting rather than implying meaning—and the deployment of something like allegory—a “Sea of Faith” once at its “flow” but now at its “ebb.” This third stanza also reveals evidence of the poet’s effort at elevating the language, producing the difficult opening lines in which that sea once “round earth’s shore/ Lay like the folds of a bright girdle furled,” a choice of words guaranteed to confuse the modern reader. This “girdle” is appropriate to the classical context of Sophocles, but not to the modern world, where it denotes an article of intimate apparel. However, attempts of academics to clarify that meaning have distracted attention from the figurative logic of a sea as a “girdle,” or belt, as well as from the unfortunate combination of sounds in “girdle furled.” Another issue left unaddressed is the dominance of pessimism in the persona’s inability to attend to the logic of this “Sea of Faith”: Whatever ebbs will inevitably flow in the future.
The final stanza recalls the earlier reference to the listener—“Ah, love, let us be true/ To one another!”—to focus on the melancholy consequences of the weakening of faith. To the persona, and presumably the poet, the world truly is “a land of dreams,” pipe dreams with nothing to believe in, not just God and an afterlife but “joy,” “love,” and so on. This is Romantic love at its most radical. Without love between a man and a woman, the world is as confusing—and as lethal—as a night battle, fraught with friendly fire. In a sense, Arnold is announcing the big question for the modern world, intent on forcing love to bear the enormous weight of providing human lives with meaning: If love is all humans have, what do they do when they cannot find love, or keep it? It is a question that resonates through the novels, too, of Ernest Hemingway, such as in his A Farewell to Arms (1929), or in the contexts of wedding receptions, where some have to suppress the depressing thought, will this be one of every two marriages that end in divorce?
1. Theme :
Matthew Arnold’s ‘Dover Beach’ captures beautifully the poet’s deep dissatisfaction with his age and its loss of faith. He puts for the idea that the root cause of the miseries of men in the modern world is lack of faith. This is an idea prevalent in both the prose and verse of Arnold.
Note: For answers refer to the above notes.
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