Liturgical Drama in The Beginning Had Three Forms
Liturgical Drama in The Beginning Had Three Forms
Liturgical Drama in The Beginning Had Three Forms
and elegiac tone. Melancholy forms the main theme of Arnold's poetry. His
Nothing in Arnold’s verse is more arresting than its elegiac element. It is not too
much to say that there is no other English poet in whom the elegiac spirit so
reigns as it does in him; ---he found in the elegy the outlet, of his native
the natural tone of an agnostic who is not jubilant, but regretful of the vanished
the poet's own doubts related to life. He saw miseries and pains of people in this
and tendencies of the age he lived in. The conflict between religion and science,
which shook men's faith in God, men’s loss of the sense of the spiritual values
Victorian Age, the thought that man does not control his own destiny, but is
controlled by some power beyond and above himself –all produced in him the
melancholic mood.
In this poem the poet stands on the beach near Dover and observers the calm
and quite sea. The moon shines in all her glory. The poet says that there is a
atmosphere:
the seascape and the skyscape. He asks his beloved to come to the window and
enjoy the sweetness of the surrounding: “sweet in the night air!” But at the next
moment, Arnold returns to his own self and feels like granting roar of the
that there is everyone looking calm outside but in reality, they have a great pain
inside.
‘Dover Beach’ expresses the loss of faith in contemporary society. To the poet
the world is a vale of tears, a place to endure and to suffer. Here the poet
reminded of Sophocles, the great Greek tragedian, must have experienced the
same melancholy feeling, when he saw the turbid ebb and flow of the waves of
the Aegean Sea. It indicates that the sea has ever been a source of inspiration to
the philosophers to think over the problems of human beings. The rushing of the
waves on the shore and the withdrawal of the same from it, with the long
melancholy roar, must have reminded Sophocles of the alternative rise and fall
of the tide of human misery. The sound produced by the ebb and flow of the
turbid waves of the northern sea fills his mind with the thought of human plight
and misfortune. This is how Arnold finds a close affinity between himself and
this great scholar in realizing the meaning of life andarticulating same in poetry:
The poet then laments over the loss of men’s faith in religion. He is shocked to
thinks that faith once filled the minds of men and properly guided them to lead
ideal life; but now faith has become a thing of the past. Faith of religion is
The lines from ‘Dover Beach’ give bitter expression of Arnold’s growing
pessimism. Kenneth Allott finds in the above quoted lines, a vivid poetic
equivalent for Arnold’s feelings of loss, exposure and dismay. To Arnold, the
world seems like without joy and happiness, aim and hope, love and light,
certainty and peace.Anxiety, problem, pain, sorrow and suffering prevail in the
world. The isolation from man to man and the ruined human destiny produces in
him a deep depression. The poet says that the people in the world run after the
luxuries and worldly things to get peace and happiness. They forget the reality
of this world while achieving other things but they do not know that this things
light in the darkness of sorrows and miseries. Arnoldpoints out that the world
which seems very charming, attractive and dreamland of beauty from outside
but internally it does not give joy and happiness and relief from pain:
In the concluding remark, it can be say that the elegiac note is dominant
pessimism. He laments deeply for this state of present age that has filled with
disbelief, doubts and miseries due to their loss of faith in religion. Buthe asserts
that only true love can be the source of consolation in hard times and he finds
Works Cited:
Arnold, Matthew. New poems, Issue 4 Matthew Arnold. Oxford: Macmillan and
Allott, Kenneth. Ed. The poems of Matthew Arnold. London and New York:
Walker, Hugh.The Literature of the Victorian Era. New Delhi: S. Chand & Co,
1964. Print
http://www.jstor.org/stable/3825594