The study of poetry by Mathew Arnold , short summary
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Perhaps Arnold's most famous piece of literary criticism is his essay “The Study of Poetry.” In this work, Arnold is fundamentally concerned with poetry's “high destiny;” he believes that “mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us” as science and ...
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Matthew Arnold was one of the foremost poets and critics of the 19th century. While often regarded as the father of modern literary criticism, he also wrote extensively on social and cultural issues, religion, and education. Arnold was born into an influential English family—his father was a famed headmaster at Rugby—and graduated from Balliol College, Oxford. He began his career as a school inspector, traveling throughout much of England on the newly built railway system. When he was elected professor of poetry at Oxford in 1857, he was the first in the post to deliver his lectures in English rather than Latin. Walt Whitman famously dismissed him as a “literary dude,” and while many have continued to disparage Arnold for his moralistic tone and literary judgments, his work also laid the foundation for important 20th century critics like T.S. Eliot, Cleanth Brooks, and Harold Bloom. His poetry has also had an enormous, though underappreciated, influence; Arnold is frequently acknowledged as being one of the first poets to display a truly Modern perspective in his work.
Perhaps Arnold’s most famous piece of literary criticism is his essay “The Study of Poetry.” In this work, Arnold is fundamentally concerned with poetry’s “high destiny;” he believes that “mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us” as science and philosophy will eventually prove flimsy and unstable. Arnold’s essay thus concerns itself with articulating a “high standard” and “strict judgment” in order to avoid the fallacy of valuing certain poems (and poets) too highly, and lays out a method for discerning only the best and therefore “classic” poets (as distinct from the description of writers of the ancient world). Arnold’s classic poets include Milton, Shakespeare, Dante, and Homer; and the passages he presents from each are intended to show how their poetry is timeless and moving. For Arnold, feeling and sincerity are paramount, as is the seriousness of subject: “The superior character of truth and seriousness, in the matter and substance of the best poetry, is inseparable from the superiority of diction and movement marking its style and manner.” An example of an indispensable poet who falls short of Arnold’s “classic” designation is Geoffrey Chaucer, who, Arnold states, ultimately lacks the “high seriousness” of classic poets.
At the root of Arnold’s argument is his desire to illuminate and preserve the poets he believes to be the touchstones of literature, and to ask questions about the moral value of poetry that does not champion truth, beauty, valor, and clarity. Arnold’s belief that poetry should both uplift and console drives the essay’s logic and its conclusions.
The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay. There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve. Our religion has materialised itself in the fact, in the supposed fact; it has attached its emotion to the fact, and now the fact is failing it. But for poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is the fact. The strongest part of our religion to-day is its unconscious poetry.”
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