Matthew Arnold's Sohrab and Rustum and Other Poems

PART III

Af­ter the death of Tris­tram and Iseult of Ire­land, our thoughts in­evitably turn to Iseult of the White Hands. The in­fi­nite pathos of her life has aroused our deep­est sym­pa­thy, and we nat­ural­ly want to know fur­ther con­cern­ing her and Tris­tram's chil­dren.

=13. cirque=. A cir­cle (ob­so­lete or po­et­ical). See l. 7, Part III.

=18. hol­ly-​trees and ju­niper=. Ev­er­green trees com­mon in Eu­rope and Amer­ica. [173] =22. fell-​fare= (or field-​fare). A small thrush found in North­ern Eu­rope.

=26. stagshorn.= A com­mon club-​moss.

=37. old-​world Bre­ton his­to­ry.= That is, the sto­ry of Mer­lin and Vi­vian, ll. 153-224, Part III.

=79-81=. Com­pare with the fol­low­ing lines from Wordsworth's _Michael_:--

“This light was fa­mous in its neigh­bor­hood. ... For, as it chanced, Their cot­tage on a plot of ris­ing ground Stood sin­gle.... And from this con­stant light so reg­ular And so far seen, the House it­self, by all Who dwelt with­in the lim­its of the vale ... was named _The Evening Star_.”

=81. iron coast.= This line in­evitably calls to mind a stan­za from Ten­nyson's _Palace of Art_:--

“One show'd an iron coast and an­gry waves. You seemed to hear them climb and fall And roar, rock-​thwart­ed, un­der bel­low­ing caves, Be­neath the windy wall.”

=92. prie-​dieu.= Pray­ing-​desk. From the French _prier_, pray; _dieu_, God.

=97. seneschal.= A ma­jor­do­mo; a stew­ard. Orig­inal­ly meant _old_ (that is, _chief) ser­vant_; from the Goth­ic _sins_, old, and _salks_, a ser­vant.--SKEAT.

=134. gulls.= De­ceives, tricks.

“The vul­gar, _gulled_ in­to re­bel­lion, armed,” --DRY­DEN.

=140.= post­ing here and there. That is, rest­less­ly chang­ing from place to place and from oc­cu­pa­tion to oc­cu­pa­tion.

=143-145. Like that bold Cae­sar=, etc. Julius Cae­sar (100?-44 B.C.). The in­ci­dent here al­lud­ed to Is men­tioned in Sue­to­nius' _Life of the De­ified Julius_, Chap­ter VII. “Far­ther Spain fell to the lot of Cae­sar as questor. When, at the com­mand of the Ro­man peo­ple, he was hold­ing court and had come to Cadiz, he no­ticed in the tem­ple of Her­cules a stat­ue of Alexan­der the Great. At sight of this stat­ue he sighed, as if dis­gust­ed at his own lack of achieve­ment, be­cause he had done noth­ing of note by the time in life (Cae­sar was then thir­ty-​two) that Alexan­der had con­quered the world.” (Free trans­la­tion.) [174]

=146-150. Prince Alexan­der, etc.= Alexan­der III., sur­named “The Great” (356-323 B.C.), was the most fa­mous of Mace­do­nian gen­er­als and con­querors, and the first in or­der of time of the four most cel­ebrat­ed com­man­ders of whom his­to­ry makes men­tion. In less than fif­teen years he ex­tend­ed his do­main over the known world and es­tab­lished him­self as the uni­ver­sal em­per­or. He died at Baby­lon, his cap­ital city, at the age of thir­ty-​three, hav­ing lament­ed that there were no more worlds for him to con­quer. (For the bound­aries of his em­pire, see any map of his time.) Pope spoke of him as “The youth who all things but him­self sub­dued.” =Soudan= (l. 149). An ob­so­lete term for Sul­tan, the Turk­ish ruler.

=153-224=. The sto­ry of Mer­lin, King Arthur's court ma­gi­cian, and the en­chantress Vi­vian is one of the most fa­mil­iar of the Arthuri­an cy­cle of leg­ends. =Broce-​liande= (l. 156). In Corn­wall. See l. 61, Part I. =fay= (l. 159). Fairy, =em­pire= (l. 184). That is, pow­er; here su­per­nat­ural pow­er. =wim­ple= (l. 220). A cov­er­ing for the head. =Is Mer­lin pris­on­er=, etc. (l. 223). Mer­lin, the ma­gi­cian, is thus en­trapped by means of a charm he had him­self com­mu­ni­cat­ed to his mis­tress, the en­chantress Vi­vian. Mal­ory has Mer­lin im­pris­oned un­der a rock; Ten­nyson, in an oak:--

“And in the hol­low oak he lay as dead And lost to life and use and name and fame.” --_Mer­lin and Vi­vian_. [175] =224=. For she was pass­ing weary, etc.

“And she was ev­er pass­ing weary of him.” --MAL­ORY.

PART I. What is the open­ing sit­ua­tion in the po­em? Why have it a stormy night? What does Tris­tram's ques­tion (l. 7) re­veal of his con­di­tion phys­ical­ly and men­tal­ly? What is the of­fice of the parts of the po­em com­ing be­tween the in­ter­vals of con­ver­sa­tion? How is the wound­ed knight iden­ti­fied? How the la­dy? Fol­low the wan­der­ings of the sleep­ing Tris­tram's mind. Are the in­ci­dents he speaks of in the or­der of their oc­cur­rence? Ex­plain ll. 102-103; ll. 161-169. Tell the sto­ry of Tris­tram and Iseult of the White Hands. What is shown by the fact that Tris­tram's mind dwells on Iseult of Ire­land even at the time of bat­tle? How ac­count for his wan­der­ings? For his mo­rose frame of mind? What change has come over na­ture when Tris­tram awakes? Why this change? What is his mood now? Ac­count for his ad­dress­ing Iseult of Brit­tany as he does. Why his or­der for her to re­tire? What is her at­ti­tude to­ward him? Note the man­ner in which the chil­dren are in­tro­duced in­to the sto­ry (ll. 324-325) PART II. Give the open­ing sit­ua­tion. Dis­cuss the meet­ing of Tris­tram and Iseult. What is re­vealed by their con­ver­sa­tion? What is the pur­pose in in­tro­duc­ing the Hunts­man on the ar­ras? PART III. What is the pur­pose of ll. 1-4? Give the open­ing sit­ua­tion in Part III. How is Iseult try­ing to en­ter­tain her chil­dren? What kind of a life does she lead? Dis­cuss ll. 112-150 as to mean­ing and con­nec­tion with the theme of the po­em. Tell the sto­ry of Mer­lin and Vi­vian. Why in­tro­duced? Com­pare Arnold's ver­sion of the sto­ry of Tris­tram and Iseult with the ver­sion giv­en in the in­tro­duc­to­ry note to the po­em.

[176] THE CHURCH OF BROU

I. THE CAS­TLE

The church of Brou is ac­tu­al­ly lo­cat­ed in a tree­less Bur­gun­di­an plain, and not in the moun­tains, as stat­ed by the po­et.

=1. Savoy=. A moun­tain­ous dis­trict in east­ern France; for­mer­ly one of the di­vi­sions of the Sar­dini­an States.

=3. moun­tain-​chalets=. Prop­er­ly, herds­men's huts in the moun­tains of Switzer­land.

=17. prick­ers=. Men sent in­to the thick­ets to start the game.

=35. dais=. Here, a canopy or cov­er­ing.

=69. erst=. See note, l. 42, _The Schol­ar-​Gip­sy_. ( For­mer­ly. (Ob­so­lete ex­cept in po­et­ry.))

=71. chan­cel=. The part of a church in which the al­tar is placed.

=72. nave=. See note, ll. 70-76, _Epi­logue to Less­ing's Lao­cooen_.

=77. palmers=. Wan­der­ing re­li­gious votaries, es­pe­cial­ly those who bore branch­es of palm as a to­ken that they had vis­it­ed the Holy Land and its sa­cred places.

=109. fret­work=. Rep­re­sent­ing open wood­work.

II. THE CHURCH

=17. matin-​chime=. Bells for morn­ing wor­ship.

=21. Cham­bery=. Cap­ital of the de­part­ment of Savoy Prop­er, on the Leysse.

=22. Dight=. See l. 277, _Sohrab and Rus­tum_. (Adorned, dressed.)

=37. chis­ell'd broi­deries=. The carved draperies of the tombs.

III. THE TOMB

=6. transept=. The transver­sal part of a church ed­ifice, which cross­es at right an­gles be­tween the nave and the choir (the up­per por­tion), thus giv­ing to the build­ing the form of a cross.

=39. fo­liaged mar­ble for­est=. Note the ep­ithet. [177] =45. leads=. That is, the lead­en roof. See l. 1, Part II. (Up­on the glis­ten­ing lead­en roof).

RE­QUI­ESCAT

This po­em, one of Arnold's best-​known short­er lyrics, com­bines with per­fect taste, sim­plic­ity and el­egance, with the truest pathos. It has been said there is not a false note in it.

=13. cab­in'd=. Used in the sense of be­ing cramped for space.

=16. vasty=. Spa­cious, bound­less.

What is the sig­nif­icance of strew­ing on the ros­es? Why “nev­er a spray of yew”? (See note, l.140, _The Schol­ar-​Gip­sy.)_ What seems to be the au­thor's at­ti­tude to­ward death? (Read his po­em, _A Wish_.) Dis­cuss the po­em as to its lyri­cal qual­ities.

CON­SO­LA­TION

=14. Holy Las­sa= (that is, Land of the Di­vine In­tel­li­gence), the cap­ital city of Thi­bet and res­idence of the Dalai, or Grand Lama, the pon­tif­ical sovereign of Thi­bet and East Asia. Here is lo­cat­ed the great tem­ple of Bud­dha, a vast square ed­ifice, sur­mount­ed by a gild­ed dome, the tem­ple, to­geth­er with its precincts, cov­er­ing an area of many acres. Con­tigu­ous to it, on its four sides, are four cel­ebrat­ed monas­ter­ies, oc­cu­pied by four thou­sand reclus­es, and re­sort­ed to as schools of the Bud­dhic re­li­gion and phi­los­ophy. There is, per­haps, no oth­er one place in the world where so much gold is ac­cu­mu­lat­ed for su­per­sti­tious pur­pos­es.

=17. Mus­es.= See note, l. 120, _The Strayed Rev­eller_.

=18. In their cool gallery=. That is, in the Vat­ican art gallery at Rome.

=19. yel­low Tiber.= So called by the an­cients be­cause of the yel­low­ish, mud­dy ap­pear­ance of its wa­ters. [178] =21. Strange unloved up­roar.= At the time this po­em was writ­ten,--1849,--the French army was be­sieg­ing Rome.

=23. He­li­con.= High moun­tain in Boeo­tia, leg­endary home of the Mus­es.

=32. Erst.= See note, l. 32, _The Schol­ar-​Gip­sy_.

=48. Des­tiny.= That is, Fate, the god­dess of hu­man des­tiny.

In what mood is the au­thor at the open­ing of the po­em? How does he seek con­so­la­tion? How does the calm of the Mus­es af­fect him? Can you see how he might find help in dwelling on the pic­tures of the blind beg­gar and hap­py lovers? What is the fi­nal thought of the po­em? Can you think of any oth­er po­em that has this as its cen­tral thought? What do you think of the au­thor's phi­los­ophy of life as set forth in this po­em? Dis­cuss the verse form used.

LINES

WRIT­TEN IN KENS­ING­TON GAR­DENS

The Kens­ing­ton Gar­dens form one of the many beau­ti­ful pub­lic parks of Lon­don. They are lo­cat­ed in the Kens­ing­ton parish, a west­ern sub­urb of the city, ly­ing north of the Thames and four miles west-​south­west of St. Paul's. In his po­em Arnold con­trasts the seren­ity of na­ture with the rest­less­ness of mod­ern life. “Not Lu­can, not Vergil, on­ly Wordsworth, has more beau­ti­ful­ly ex­pressed the spir­it of Pan­the­ism.”--HER­BERT W. PAUL.

=4.= The pine trees here men­tioned are since dead.

=14. What end­less ac­tive life!= Com­pare with Arnold's son­net of this vol­ume, en­ti­tled _Qui­et Work_, ll. 4-7 and 11-12.

=21. the huge world.= Lon­don.

=24. Was breathed on by ru­ral Pan.= Note Arnold's clas­sic way of ac­count­ing for his great love for na­ture, Pan be­ing the na­ture god. See note, l. 67, _The Strayed Rev­eller_. [179] =37-42.= Com­pare the thought here pre­sent­ed with the fol­low­ing lines from Wordsworth:--

“These beau­teous forms, ... have not been to me As is a land­scape to a blind man's eye. But oft, in lone­ly rooms, and 'mid the din Of towns and cities, I have owed to them, ... sen­sa­tions sweet Felt in the blood, and felt along the heart; And pass­ing even in­to my pur­er mind, With tran­quil restora­tion.”

Read al­so Wordsworth's _Lines to the Daf­fodil_.

What is the dom­inant mood of the po­em? What ev­ident­ly brought it to the au­thor's mind? How does he show his in­ter­est in na­ture? In hu­man be­ings? What in­spi­ra­tion does the au­thor seek from na­ture, ll. 37-42? Ex­plain the mean­ing of the last two lines.

THE STRAYED REV­ELLER

“I have such a love for these forms and this old Greek world, that per­haps I in­fuse a lit­tle soul in­to my deal­ings with them, which saves me from be­ing en­tire­ly _en­nuyx_, pro­fes­so­ri­al and pedan­tic.” (Matthew Arnold, in a let­ter to his sis­ter, dat­ed Febru­ary, 1858.)

Circe, ac­cord­ing to Greek mythol­ogy, was an en­chantress, who dwelt in the is­land of AEaea, and who pos­sessed the pow­er to trans­form men in­to beasts. (See any mytho­log­ical text on Ulysses' wan­der­ings.) In Arnold's fan­tas­tic, vi­sion­ary po­em, the mag­ic po­tion, by which this trans­for­ma­tion is ac­com­plished, af­fects not the body, but the mind of the youth.

=12. ivy-​cinc­tured.= That is, gir­dled with ivy, sym­bol­ic of Bac­chus, the god of wine and rev­el­ry, whose fore­head was crowned with ivy. See al­so l. 33. [180]

=36. rout.= Con­sult dic­tio­nary.

=38. Iac­chus.= In the Eleusini­an mys­ter­ies, Bac­chus bore the name of Iac­chus. =fane.= A tem­ple. From the Latin _fanum_, a place of wor­ship ded­icat­ed to any de­ity.

=48. The li­ons sleep­ing.= As Ulysses' com­pan­ions ap­proached Circe's palace, fol­low­ing their land­ing on her is­land, they found them­selves “sur­round­ed by li­ons, tigers, and wolves, not fierce but tamed by Circe's art, for she was a pow­er­ful ma­gi­cian.”

=67. Pan's flute mu­sic!= Pan, the god of pas­tures and wood­lands, was the in­ven­tor of the sy­rinx, or shep­herd's flute, with which he ac­com­pa­nied him­self and his fol­low­ers in the dance.

=71. Ulysses.= The cel­ebrat­ed hero of the Tro­jan war; al­so fa­mous for his wan­der­ings. One of his chief ad­ven­tures, on his re­turn voy­age from Troy, was with the en­chantress Circe, with whom he tar­ried a year, for­get­ful of his faith­ful wife, Pene­lope, at home.

=72. Art.= That is, are you. (Now used on­ly in solemn or po­et­ic style.)

=73. range.= Wan­der aim­less­ly about.

=74. See what the day brings.= That is, the youth. See ll. 24-52

=81. Nymphs.= God­dess­es of the moun­tains, forests, mead­ows, or wa­ters, be­long­ing to the low­er rank of deities.

=102-107.= Com­pare in thought with Ten­nyson's po­em, _Ulysses_.

=110. The favour'd guest of Circe.= Ulysses. See note, l. 71.

=120. Mus­es.= Daugh­ters of Jupiter and Minemosyne, nine in num­ber. Ac­cord­ing to the ear­li­est writ­ers the Mus­es were on­ly the in­spir­ing god­dess­es of song; but lat­er they were looked to as the di­vini­ties pre­sid­ing over the dif­fer­ent kinds of po­et­ry, and over the arts and sci­ences. [181] =130-135.= Note the po­et's de­vice for pre­sent­ing a se­ries of men­tal pic­tures. Com­pare with Ten­nyson's plan in his _Palace of Art_. Does Arnold's plan seem more or less me­chan­ical than Ten­nyson's?

=135-142. Tire­sias.= The blind prophet of =Thebes= (l. 142), the chief city in Boeo­tia, near the riv­er =Aso­pus= (l. 138). In his youth, Tire­sias un­wit­ting­ly came up­on Athene while she was bathing, and was pun­ished by the loss of sight. As a rec­om­pense for this mis­for­tune, the god­dess af­ter­ward gave him knowl­edge of fu­ture events. The in­hab­itants of Thebes looked to Tire­sias for di­rec­tion in times of war.

=143. Cen­taurs.= Mon­sters, half man, half horse.

=145. Pe­lion.= A moun­tain in east­ern Thes­saly, fa­mous in Greek mythol­ogy. In the war be­tween the gi­ants and the gods, the for­mer, in their ef­forts to scale the heav­ens, piled Os­sa up­on Olym­pus and Pe­lion up­on Os­sa.

=151-161.= What in these lines en­ables you to de­ter­mine the peo­ple and coun­try al­lud­ed to?

=162-167. Scythi­an ... em­bers.= The an­cient Greek term for the no­madic tribes in­hab­it­ing the whole north and north­east Eu­rope and Asia. As a dis­tinct peo­ple they built no cities, and formed no gen­er­al gov­ern­ment, but wan­dered from place to place by tribes, in their rude, cov­ered carts (see l. 164), liv­ing up­on the coars­est kind of food (ll. 166-167).

=177-180. Clus­ters of lone­ly mounds, etc.= That is, ru­ins of an­cient cities.

=183. Choras­mi­an stream.= See note, l. 878, _Sohrab and Rus­tum_.

=197. milk-​barr'd onyx-​stones.= A ref­er­ence to the white streaks, or bars, com­mon to the onyx.

=206. Hap­py Is­lands.= Myth­ical is­lands ly­ing far to the west, the abode of the heroes af­ter death.

=220. Hera's anger.= Hera (or Juno), wife to Jupiter, was not­ed for her vi­olent tem­per and jeal­ousy. She is here rep­re­sent­ed as vis­it­ing pun­ish­ment up­on the bard, per­haps out of jeal­ousy of the gods who had en­dowed him with po­et­ic pow­er, and his life, thus af­flict­ed, seems length­ened to sev­en ages. [182]

=228-229. Lap­ithae.= In Greek leg­ends, a fierce Thes­salian race, gov­erned by Pirot­hous, a half-​broth­er to the Cen­taurs. =The­seus.= The chief hero of At­ti­ca, who, ac­cord­ing to tra­di­tion, unit­ed the sev­er­al tribes of At­ti­ca in­to one state, with Athens as the cap­ital. His life was filled with ad­ven­ture. The ref­er­ence here is to the time of the mar­riage of Pirot­hous and Hip­po­damia, on which oc­ca­sion the Cen­taurs, who were among the guests, be­came in­tox­icat­ed, and of­fered in­dig­ni­ties to the bride. In the fight that fol­lowed, The­seus joined with the Lap­ithae, and many of the Cen­taurs were slain.

=231. Al­cme­na's dread­ful son.= Her­cules. On his ex­pe­di­tion to cap­ture the Ar­ca­di­an boar, his third la­bor, Her­cules be­came in­volved in a broil with the Cen­taurs, and in self-​de­fence slew sev­er­al of them with his ar­rows.

=245. Oxus stream.= See note, l. 2, _Sohrab and Rus­tum_.

=254. Heroes.= The demigods of mythol­ogy.

=257. Troy.= The cap­ital of Troas, Asia Mi­nor; the seat of the Tro­jan war.

=254-260.= Short­ly af­ter the close of the Tro­jan war, a par­ty of heroes from all parts of Greece, many of whom had par­tic­ipat­ed in the ex­pe­di­tions against Thebes and Troy, set out un­der the lead­er­ship of Ja­son to cap­ture the Gold­en Fleece. Leav­ing the shores of Thes­saly, the ad­ven­tur­ers sailed east­ward and fi­nal­ly came to the en­trance of the =Eu­xine Sea= (the =un­known sea=, l. 260), which was guard­ed by the Clash­ing Is­lands. Fol­low­ing the in­struc­tions of the sage Phineus, Ja­son let fly a dove be­tween the is­lands, and at the mo­ment of re­bound the ex­pe­di­tion passed safe­ly through. The ship in which the ad­ven­tur­ers sailed was called the Ar­go, af­ter its builder, Ar­gus; hence our term Arg­onauts. [183] =261. Silenus.= A di­vin­ity of Asi­at­ic ori­gin; fos­ter-​fa­ther to Bac­chus and lead­er of the =Fauns= (l. 265), satyr-​like di­vini­ties, half man, half goat, some­times rep­re­sent­ed in art as hear­ing torch­es (l. 274).

=275. Mae­nad.= A bac­cha­nte,--a priest­ess or votary of Bac­chus.

=276. Faun with torch­es.= See note, l. 261.

What is the sit­ua­tion at the be­gin­ning of the po­em? What ef­fect does the “liquor” have up­on the youth? Why is the pres­ence of Ulysses so much in har­mo­ny with the sit­ua­tion? How does he greet Circe; how the youth? What does his pres­ence sug­gest to the lat­ter? Why? Note the vivid­ness of the pic­tures he de­scribes; al­so the swift­ness with which he changes from one to an­oth­er. What pow­er is as­cribed to the po­et? Why his “pain”? What ef­fect is gained by clos­ing the po­em with the same words with which it is opened? Why the ir­reg­ular verse used?

DOVER BEACH

In this po­em is ex­pressed the pe­cu­liar turn of Arnold's mind, at once re­li­gious and scep­ti­cal, philo­soph­ical and emo­tion­al. It is one of his most pas­sion­ate in­ter­pre­ta­tions of life.

=15. Sopho­cles= (495-406 B.C.). One of the three great trag­ic po­ets of Greece. His ri­vals were AEschy­lus (526-456 B.C.) and Eu­ripi­des (486-406 B.C.).

=16. AEgean Sea.= See note, l. 236, _The Schol­ar-​Gip­sy_.

* * * * *

Im­age the scene in the open­ing stan­zas. What is the au­thor's mood? Why does he call some one to look on the scene with him? What is the “eter­nal note of sad­ness”? Why con­nect it in thought with the sea? Why does this thought sug­gest Sopho­cles? What thought next presents it­self to the au­thor's mind? From what source must one's help and com­fort then be drawn? Why so? Why the ir­reg­ular ver­si­fi­ca­tion? State the theme of the po­em. [184]

PHILOMELA

“Philomela unites the sen­si­bil­ities and in­tel­lec­tu­al ex­pe­ri­ence of mod­ern En­glish­men with the lu­mi­nous­ness and sim­plic­ity of Greek po­et­ry.”--SAINTS­BURY.

The myth of the nightin­gale has long been a fa­vorite with the po­ets, who have var­ious­ly in­ter­pret­ed the bird's song. See Co­leridge's, Keats's, and Wordsworth's po­ems on the sub­ject. The most com­mon ver­sion of the myth, the one fol­lowed by Arnold, is as fol­lows:--

“Pan­dion (son of Erichtho­nius, spe­cial ward to Min­er­va) had two daugh­ters, Proc­ne and Philomela, of whom he gave the for­mer in mar­riage to Tereus, king of Thrace (or of Daulis in Pho­cis). This ruler, af­ter his wife had borne him a son, Itys (or Ity­lus), wea­ried of her, plucked out her tongue by the roots to in­sure her si­lence, and, pre­tend­ing that she was dead, took in mar­riage the oth­er sis­ter, Philomela. Proc­ne, by means of a web, in­to which she wove her sto­ry, in­formed Philomela of the hor­ri­ble truth. In re­venge up­on Tereus, the sis­ters killed Ity­lus, and served up the child as food to the fa­ther; but the gods, in in­dig­na­tion, trans­formed Proc­ne in­to a swal­low, Philomela in­to a nightin­gale, for­ev­er be­moan­ing the mur­dered Ity­lus, and Tereus in­to a hawk, for­ev­er pur­su­ing the sis­ters.”--GAY­LEY'S _Clas­sic Myths_.

=4.= Use the sub­joined ques­tions in study­ing the po­em.

=5. O wan­der­er from a Gre­cian shore.= See note, l. 27.

=8.= Note the apt­ness and beau­ty of the ad­jec­tives in this line, not one of which could be omit­ted with­out ir­repara­ble loss.

=18. Thra­cian wild.= Thrace was the name used by the ear­ly Greeks for the en­tire re­gion north of Greece. [185] =21. The too clear web=, etc. See in­tro­duc­to­ry note to po­em for ex­pla­na­tion of this and the fol­low­ing lines.

=27. Daulis.= A city of Pho­cis, Greece, twelve miles north­east of Del­phi; the scene of the myth of Philomela. =Cephes­sian vale.= The val­ley of the Cephissus, a small stream run­ning through Doris, Pho­cis, and Boeo­tia, in­to the Eu­boean Gulf.

=29. How thick the bursts=, etc. Com­pare with the fol­low­ing lines from Co­leridge:--

“'Tis the mer­ry nightin­gale That crowds and hur­ries and pre­cip­itates With fast, thick war­ble his de­li­cious notes, As he were fear­ful that an April night Would be too short for him to ut­ter forth His love-​chant, and dis­bur­then his full soul Of all its mu­sic!” --_The Nightin­gale_.

Al­so

“O Nightin­gale! thou sure­ly art A crea­ture of a 'fiery heart':-- These notes of thine--they pierce and pierce; Tu­mul­tuous har­mo­ny and fierce! Thou sing'st as if the god of wine Had helped thee to a Valen­tine.” --WORDSWORTH.

=31-32. Eter­nal pas­sion! Eter­nal pain!= Com­pare:--

“Thou war­blest sad thy pity-​plead­ing strains.” --CO­LERIDGE, _To a Nightin­gale_.

and

“Sweet bird ... Most mu­si­cal, most melan­choly!” --MIL­TON, _Il Penseroso_.

Im­age the scene in the po­em. How does the au­thor se­cure the prop­er at­mo­sphere for the theme of the po­em? Ac­count for the note of tri­umph in the nightin­gale's song; note of pain. What is shown by the po­et's ques­tion, ll. 10-15? What new qual­ities are added to the nightin­gale's song, l. 25? Ac­count for them. Why _eter­nal_ pas­sion, _eter­nal_ pain? Do you feel the form of verse used (Pin­dar­ic blank) to be adapt­ed to the theme? [186]

HU­MAN LIFE

=4. kept un­in­fringed my na­ture's law.= That is, have lived a per­fect life.

=5. in­ly-​writ­ten chart.= The con­science.

=8. incog­nis­able.= Not to be com­pre­hend­ed by fi­nite mind.

=23. prore.= Po­et­ical word for _prow_, the fore part of a ship.

=27. stem.= Con­sult dic­tio­nary.

What im­por­tant in­ci­dent in the des­tiny of the soul is al­lud­ed to in stan­za 1? In­ter­pret ll. 13-14, and ap­ply to your own ex­pe­ri­ence. Why can­not we live “chance's fool”? Is there any hint of fa­tal­ism in the po­em, or are we held ac­count­able for our own des­tiny?

ISO­LA­TION

TO MAR­GUERITE, ON RE­TURN­ING A VOL­UME OF THE LET­TERS OF OR­TIS

This po­em, the fifth in a loose­ly con­nect­ed group of lyrics, un­der the gen­er­al name _Switzer­land_, is a con­tin­ua­tion of the pre­ced­ing po­em, _Iso­la­tion--to Mar­guerite_, and is prop­er­ly en­ti­tled, _To Mar­guerite--Con­tin­ued_. When print­ed sep­arate­ly, the above ti­tle is used.

Ja­copo Or­tis was a pseudonym of the Ital­ian po­et, Ugo Fos­co­lo. His _Ul­time Let­tere di Or­tis_ was trans­lat­ed in­to the En­glish in 1818.

[187] =1. Yes!= Used in an­swer to the clos­ing thought of the pre­ced­ing po­em.

=7. moon.= Note the fre­quen­cy with which ref­er­ence to the moon, with its light ef­fects, ap­pears in Arnold's lines. Can you give any rea­son for this?

=24.= Mr. Her­bert W. Paul, com­ment­ing on this line, says: “_Iso­la­tion_ winds up with one of the great po­et­ic phras­es of the cen­tu­ry--one of the 'jew­els five (lit­er­al­ly five) words long' of En­glish verse--a phrase com­plete and fi­nal, with ep­ithets in unerring cu­mu­la­tion.”

Give the po­em's theme. To what is each in­di­vid­ual likened? Dis­cuss l.2 as to mean­ing. In what sense do we live “alone,” l.4? Why “end­less bounds,” l.6? How ac­count for the feel­ing of de­spair, l.13? An­swer the ques­tions asked in the last stan­za. In what frame of mind does the po­em leave you?

KAISER DEAD

APRIL 6, 1887

Arnold's love for an­imals, es­pe­cial­ly his house­hold pets, was most sin­cere. De­spite the play­ful irony of his po­em, there is in the mi­nor key an un­der­tone of gen­uine sor­row. “We have just lost our dear, dear mon­grel, Kaiser,” he wrote in a let­ter dat­ed from his home in Cob­ham, Kent, April 7, 1887, “and we are very sad.” The po­em was writ­ten the fol­low­ing Ju­ly, and was pub­lished in the _Fort­night­ly Re­view_ for that month.

=2. Cob­ham.= See note above.

=3. Far­ring­ford,= in the Isle of Wight, was the home of Lord Ten­nyson.

=5. Pen-​bryn's bold bard.= Sir Lewis Mor­ris, au­thor of the _Epic of Hades_, lived at Pen-​bryn, in Caer­marthanshire. [188] =11-12.= In Burns's po­em, _Poor Mailie's El­egy_, oc­cur the fol­low­ing lines:--

“Come, join the melan­cho­lious croon O' Robin's reed.”

=20. Pots­dam.= The cap­ital of the gov­ern­ment dis­trict of Pots­dam, in the province of Bran­den­burg, Prus­sia; hence the dog's name, _Kaiser_.

=41. the Grand Old Man.= Glad­stone.

=50. agog.= In a state of ea­ger ex­cite­ment.

=65. Geist.= Al­so re­mem­bered in a po­em en­ti­tled _Geist's Grave_, in­clud­ed in this vol­ume.

=76. chiel.= A Scotch word mean­ing lad, fel­low.

“Buird­ly _chiels_ an clever hizzies.” --BURNS, _The Twa Dogs_.

=Skye.= The largest of the In­ner He­brides. See note, l. 7, _Saint Bran­dan_.

THE LAST WORD

In this po­em Arnold de­scribes the plight of one en­gaged in a hope­less strug­gle against an un­com­pro­mis­ing, Philis­tine world too strong for him.

State the cen­tral thought in the po­em. To whom is it ad­dressed? What is the _nar­row bed_, l. 1? Why give up the strug­gle? With whom has it been waged? Ex­plain ful­ly l. 4. What is im­plied in l. 6? What is meant by _ring­ing shot_, l. 11? Who are the vic­tors, l. 14? What would they prob­ably say on find­ing the body near the wall? Can you think of any his­tor­ical char­ac­ters of whom the po­em might apt­ly have been writ­ten?

[189] PAL­LA­DI­UM

At the time of the Tro­jan war there was in the citadel of Troy a cel­ebrat­ed stat­ue of Pal­las Athene, called the Pal­la­di­um. It was re­put­ed to have fall­en from heav­en as the gift of Zeus, and the be­lief was that the city could not be tak­en so long as this stat­ue re­mained with­in it. Ulysses and Diomedes, two of the Greek cham­pi­ons, suc­ceed­ed in en­ter­ing the city in dis­guise, stole the Pal­la­di­um and car­ried it off to the be­siegers' camp at Ar­gos. It was some time, how­ev­er, be­fore the city fell.

=1. Simois.= A small riv­er of the Troad which takes its rise in the rocky, wood­ed em­inence which, ac­cord­ing to Greek tra­di­tion, formed the acrop­olis of Troy. The Pal­la­di­um was set up on its banks near its source, in a tem­ple es­pe­cial­ly erect­ed for it (l. 6), and from this lofty po­si­tion was sup­posed to watch over the safe­ty of the city and her de­fend­ers on the plains be­low.

=3. Hec­tor.= Hec­tor, son of Pri­am, king of Troy (Il­ium), and his wife, Hecu­ba, was the lead­er and cham­pi­on of the Tro­jan armies. He dis­tin­guished him­self in nu­mer­ous sin­gle com­bats with the ablest of the Greek heroes; and to him was prin­ci­pal­ly due the stub­born de­fence of the Tro­jan cap­ital. He was fi­nal­ly slain by Achilles, aid­ed by Athene, and his body dragged thrice around the walls of Troy be­hind the char­iot of his con­queror.

=14. Xan­thus.= The Sca­man­der, the largest and most cel­ebrat­ed riv­er of the Troad, near which Troy was sit­uat­ed, was presid­ed over by a de­ity known to the gods as Xan­thus. His con­test with Achilles, whom he so near­ly over­whelmed, forms a no­table in­ci­dent of the _Il­iad_.

=15. Ajax, or Aiax.= One of the lead­ing Greek heroes in the siege of Troy, fa­mous for his size, phys­ical strength, and beau­ty. In brav­ery and feats of val­or he was sec­ond on­ly to Achilles. Not be­ing award­ed the ar­mor of Achilles af­ter that hero's death, he slew him­self. [190] =16.= He­len, the wife of Menelaus, king of Spar­ta, was cel­ebrat­ed for her beau­ty, by rea­son of which fre­quent ref­er­ences are made to her by both clas­sic and mod­ern writ­ers. Goethe in­tro­duces her in the sec­ond part of _Faust_, and Faus­tus, in Mar­lowe's play of that name, ad­dress­es her thus:--

“Oh! thou art fair­er than the evening air Clad in the beau­ty of a thou­sand stars.”

Her ab­duc­tion by Paris, son of Pri­am (see note, l. 3), was the cause of the Tro­jan war, the most no­table in­ci­dent of Greek mythol­ogy, which forms the theme of Homer's great­est po­em, the _Il­iad_.

What is the cen­tral thought of the po­em? Of what is the Pal­la­di­um typ­ical? Ex­plain the thought in stan­za 3. What is the force of the ref­er­ences of stan­za 4? Dis­cuss the use of the words “rust” and “shine,” l. 17. Just what is meant by “soul” as the word is used in the po­em?

SELF-​DE­PEN­DENCE

_Self-​De­pen­dence_ is a po­em in ev­ery re­spect char­ac­ter­is­tic of its au­thor. In it Arnold ex­horts mankind to seek refuge from hu­man trou­bles in the ex­am­ple of na­ture.

Pic­ture the sit­ua­tion in the po­em. What is the po­et's mood as shown in the open­ing stan­zas? From what source does he seek aid? Why? What an­swer does he re­ceive? What is the source of na­ture's re­pose? Where and how must the hu­man soul find its con­tent­ment?

[191] GEIST'S GRAVE

This po­em ap­peared in the Jan­uary num­ber of the _Fort­night­ly Re­view_ for 1881.

=12. homi­ly.= Ser­mon.

=15. the Vir­gilian cry.= _Sunt lacrimae re­rum!_ These words are in­ter­pret­ed in the fol­low­ing line.

=42. On lips that rarely form them now.= Arnold wrote but lit­tle po­et­ry af­ter 1867.

=55-56. thine ab­sent mas­ter.= Richard Pen­rose Arnold, the po­et's on­ly sur­viv­ing son.

EPI­LOGUE TO LESS­ING'S LAO­COOeN

Got­thold Ephraim Less­ing (1729-1781) was a cel­ebrat­ed Ger­man drama­tist and crit­ic. For a time he stud­ied the­ol­ogy at Leip­sic, then turned his at­ten­tion to the stage, and lat­er to crit­icism. His great­est crit­ical work (1766) is a trea­tise on Art, the fa­mous Greek stat­uary group, the Lao­cooen, which gives the work its name, form­ing the ba­sis for a com­par­ative dis­cus­sion of Sculp­ture, Po­et­ry, Paint­ing, and Mu­sic.

=1. Hyde Park.= The largest park in Lon­don, and the prin­ci­pal recre­ation ground of that city.

=15. Phoe­bus-​guard­ed ground.= Greece. Phoe­bus, a name of­ten giv­en Apol­lo, the sun god.

=16. Pau­sa­nias.= A not­ed Greek ge­og­ra­pher and writ­er on art who lived in the sec­ond cen­tu­ry. “His work, _The Gazetteer of Hel­las_, is our best reper­to­ry of in­for­ma­tion for the to­pog­ra­phy, lo­cal his­to­ry, re­li­gious ob­ser­vances, ar­chi­tec­ture, and sculp­ture of the dif­fer­ent states of Greece.”--K.O. MUeLLER, _His­to­ry of the Lit­er­ature of An­cient Greece_. [192] =21-22. Dante= (1265-1321), =Pe­trar­ch= (1304-1374), =Tas­so= (1544-; 1595), =Ar­ios­to= (1475-1533). Cel­ebrat­ed Ital­ian po­ets.

=25. Raphael= (1483-1520). The fa­mous Ital­ian painter.

=29. Goethe= (1749-1832). The great­est name in Ger­man lit­er­ature. His works in­clude po­et­ry, dra­mas, and crit­icisms. =Wordsworth= (1770-1850). See the po­em, _Memo­ri­al Vers­es_, of this vol­ume.

=35. Mozart= (1766-1791), =Beethoven= (1770-1827), =Mendelssohn= (1809-1847). Not­ed mu­si­cians and com­posers.

=42. south.= Warm.

=43-48.= Cy­clops Polyphe­mus, fa­mous in the sto­ry of Ulysses, was a per­sis­tent and jeal­ous suit­or of Galatea, the fairest of sea di­vini­ties. So ar­dent was he in his woo­ings, that he would leave his flocks to wan­der at will, while he sang his un­couth lays from the hill­tops to Galatea in the bay be­low. Her on­ly an­swers were words of scorn and mock­ery. See An­drew Lang's trans­la­tion of The­ocri­tus, Idyl VI, for fur­ther ac­count.

=70-76. Abbey tow­ers.= That is, West­min­ster Abbey, a mile's dis­tance to the south and east of Hyde Park. The abbey is built in the form of a cross, the body or low­er part of which is termed the nave (l. 73). The up­per por­tion is oc­cu­pied by the choir, the an­thems of which, with their or­gan ac­com­pa­ni­ments, are al­lud­ed to in ll. 74-77.

=89-106. Mis­erere Domine!= _Lord, have mer­cy!_ These words are from the ser­vice of the Church of Eng­land. The mean­ing in these lines is that Beethoven, in his mas­ter­pieces, has trans­ferred the thoughts and feel­ings, above in­ad­equate­ly ex­pressed in words, in­to an­oth­er and more emo­tion­al tongue; that is, mu­sic.

=107. Ride.= A fa­mous drive­way in Hyde Park, com­mon­ly called Rot­ten Row.

=119. va­cant.= Thought­less; not oc­cu­pied with study or re­flec­tion.

“For oft, when on my couch I lie In _va­cant_ or in pen­sive mood.” --WORDSWORTH'S _Lines to the Daf­fodils_, ll. 19-20.

=124. hies.= Has­tens (po­et­ical). [193] =130. painter and mu­si­cian too!= Arnold held po­et­ry to be equal to paint­ing and mu­sic com­bined.

=140. move­ment.= Ac­tiv­ities. Ex­plained in the fol­low­ing lines.

=163-210.= Note care­ful­ly the ar­gu­ment used to prove that po­et­ry in­ter­prets life more ac­cu­rate­ly and ef­fec­tive­ly than any of the oth­er arts. =Homer=, the most renowned of all Greek po­ets. The time in which he lived is not def­inite­ly known. =Shake­speare= (1504-1616).

Give the set­ting of the sto­ry. What was the top­ic of con­ver­sa­tion? What stand did the po­et's friend take re­gard­ing po­et­ry? Why turn to Greece in con­sid­er­ing the arts? What lim­ita­tions of the painter's art are point­ed out by the po­et? What is his at­ti­tude to­ward mu­sic? What fi­nal­ly is “the po­et's sphere,” l. 127? Where­in then is po­et­ry su­pe­ri­or to the oth­er arts? Does the au­thor prove his point by his po­em? Dis­cuss the po­em as to move­ment, dic­tion, etc.

QUI­ET WORK

No po­et, not even Wordsworth, was more pas­sion­ate­ly fond of na­ture than Arnold. Note his at­ti­tude in the po­em.

=1. One les­son.= What les­son?

=4.= Dis­cuss the use of the ad­jec­tive “loud”; al­so “nois­ier,” l. 7.

Note the es­sen­tial el­ements of son­net struc­ture in me­tre, rhyme for­mu­la, and num­ber of lines. See the in­tro­duc­tion to Sharp's _Son­nets of this Cen­tu­ry_.

SHAKE­SPEARE

De­spite this trib­ute, Arnold con­sid­ered Homer Shake­speare's equal, if not his su­pe­ri­or. What do Shake­speare's smile and si­lence im­ply on his part? Ex­plain in full the fig­ure used. Do you con­sid­er it apt? Why “Bet­ter so,” l. 10? What is there in the po­em that helps you to see where­in lay Shake­speare's pow­er to in­ter­pret life? Se­lect the lines which most im­press you, and tell why. [194]

YOUTH'S AG­ITA­TIONS

This son­net was writ­ten in 1852, when the po­et was in his thir­ti­eth year.

=5. joy.= Be glad. =heats.= Pas­sions.

=6. even clime.= That is, in the less emo­tion­al years of ma­tu­ri­ty.

=12. hur­ry­ing fever.= See note, l. 6.

AUS­TER­ITY OF PO­ET­RY

=1. That son of Italy.= Gi­aco­pone di To­di.

=2. Dante= (1265-1321). Best known as the au­thor of _The Di­vine Com­edy_.

=3. In his light youth.= Ex­plain.

=11. sack­cloth.= Sym­bol­ic of mourn­ing or mor­ti­fi­ca­tion of the flesh.

Tell the sto­ry of the po­em and make the ap­pli­ca­tion. Ex­plain Arnold's idea of po­et­ry as set forth in ll. 12-14.

WORLD­LY PLACE

=3. Mar­cus Au­re­lius= (121-180 A.D.), com­mon­ly called “the philoso­pher.” A cel­ebrat­ed Ro­man em­per­or, promi­nent among the eth­ical teach­ers of his time. Arnold him­self has been apt­ly styled by Sharp an “im­pas­sioned Mar­cus Au­re­lius, wrought by po­et­ic vi­sion and emo­tion to po­et­ic mu­sic.” [195]

=6. fool­ish.= In the sense of un­rea­son­able. =ken.= The Scotch word mean­ing sight.

=7. rates.= Be­rates, re­proves.

Give the po­em's theme. What is im­plied by the word “even,” l. 1? Does the au­thor agree with the im­pli­ca­tion? Why so? Dis­cuss l. 5 as to its mean­ing. In­ter­pret the ex­pres­sions “ill-​school'd spir­it,” l. 11, and “Some no­bler, am­pler stage of life,” l. 12. Where fi­nal­ly are the aids to a no­bler life to be found? Do you agree with this phi­los­ophy of life?

EAST LON­DON

=2. Beth­nal Green.= An east­ern sub­urb of Lon­don.

=4. Spi­tal­fields.= A part of north­east Lon­don, com­pris­ing the parish­es of Beth­nal Green and Christchurch.

Im­age the scene. What is the pur­pose of the first four lines? Dis­cuss l. 6. What is the im­port of the preach­er's re­sponse? What are the po­et's con­clu­sions drawn in ll. 9-14?

WEST LON­DON

=1. Bel­grave Square.= An im­por­tant square in the west­ern part of Lon­don.

Tell the sit­ua­tion and the sto­ry of the po­em. Why did the wom­an so­lic­it aid from the la­bor­ing men? Why not from the wealthy? Ex­plain ll. 9-11. What is the po­et's fi­nal con­clu­sion?

[196] MEMO­RI­AL VERS­ES

APRIL, 1850

Wordsworth died at Ry­dal Mount, in the Lake, Dis­trict, April 23, 1850. These vers­es, ded­icat­ed to his mem­ory, are among Arnold's best-​known lines. For ad­equa­cy of mean­ing and charm of ex­pres­sion, they are al­most un­sur­passed; they al­so con­tain some of the po­et's sound­est po­et­ical crit­icism. The po­em was first pub­lished in _Fras­er's Mag­azine_ for June, 1850, and bore the date of April 27.

=1. Goethe in Weimar sleeps.= The tomb of Goethe, the cel­ebrat­ed Ger­man au­thor (see note, l. 29, _Epi­logue to Less­ing's Lao­cooen_), is in Weimar, the cap­ital of the Grand-​duchy of Saxe-​Weimar. Weimar is not­ed as the lit­er­ary cen­tre of Ger­many, and for this rea­son is styled the Ger­man Athens.

=2. By­ron.= George Gor­don By­ron (1788-1824), a cel­ebrat­ed En­glish po­et of the French Rev­olu­tion­ary pe­ri­od, died at Mis­so­longhi, Greece, where he had gone to help the Greeks in their strug­gle to throw off the Turk­ish yoke. He was pre­em­inent­ly a po­et of pas­sion, and, as such, ex­ert­ed a marked in­flu­ence on the lit­er­ature of his day. His petu­lant, bit­ter re­bel­lion against all law has be­come prover­bial; hence the term “By­ron­ic.” The =Ti­tans= (l. 14) were a race of gi­ants who warred against the gods. The apt­ness of the com­par­ison made here is at once ev­ident. In Arnold's son­net, _A Pic­ture at New­stead_, al­so oc­cur these lines:--

“'Twas not the thought of By­ron, of his cry Stormi­ly sweet, his Ti­tan-​agony.”

=17. iron age.= In clas­sic mythol­ogy, “The last of the four great ages of the world de­scribed by Hes­iod. Ovid, etc. It was sup­posed to be char­ac­ter­ized by abound­ing op­pres­sion, vice, and mis­ery.”-- _In­ter­na­tion­al Dic­tio­nary_. The pre­ced­ing ages, in or­der, were the age of gold, the age of sil­ver, and the age of brass. [197]

=34-39=. Eu­ry­dice, wife of Or­pheus, was stung to death by a ser­pent, and passed to the realm of the dead--Hades. Thith­er Or­pheus de­scend­ed, and, by the charm of his lyre and song, per­suad­ed Plu­to to re­store her to life. This he con­sent­ed to do on con­di­tion that she walk be­hind her hus­band, who was not to look at her un­til they had ar­rived in the up­per world. Or­pheus, how­ev­er, looked back, thus vi­olat­ing the con­di­tions, and Eu­ry­dice was caught back in­to the in­fer­nal re­gions.

“The fer­ry guard Now would not row him o'er the lake again.” --LAN­DOR.

=72. Rotha=. A small stream of the En­glish Lake Re­gion, on which Ry­dal Mount, Wordsworth's buri­al-​place, is sit­uat­ed.

THE SCHOL­AR-​GIP­SY

“There was very late­ly a lad in the Uni­ver­si­ty of Ox­ford who was by his pover­ty forced to leave his stud­ies there and at last to join him­self to a com­pa­ny of vagabond gip­sies. Among these ex­trav­agant peo­ple, by the in­sin­uat­ing sub­tilty of his car­riage, he quick­ly got so much of their love and es­teem that they dis­cov­ered to him their mys­tery. Af­ter he had been a pret­ty while ex­er­cised in the trade, there chanced to ride by a cou­ple of schol­ars who had for­mer­ly been of his ac­quain­tance. They quick­ly spied out their old friend among the gip­sies, and he gave them an ac­count of the ne­ces­si­ty which drove him to that kind of life, and told them that the peo­ple he went with were not such im­pos­tors as they were tak­en for, but that they had a tra­di­tion­al kind of learn­ing among them, and could do won­ders by the pow­er of imag­ina­tion, their fan­cy bind­ing that of oth­ers; that him­self had learned much of their art, and when he had com­passed the whole se­cret, he in­tend­ed, he said, to leave their com­pa­ny, and give the world an ac­count of what he had learned.”--GLANVIL'S _Van­ity of Dog­ma­tiz­ing_, 1661. [198]

=2. wat­tled cotes=. Sheep­folds. Prob­ably sug­gest­ed by Mil­ton's _Co­mus_, l. 344:--

“The fold­ed flocks, penned in their _wat­tled cotes_.”

=9. Cross and re­cross=. In­fini­tives de­pend­ing up­on seen, l. 8.

=13. cruse=. Com­mon­ly as­so­ci­at­ed in thought with the sto­ry of Eli­jah and the wid­ow of Zarephath, 1 _Kings_, xvii: 8-16.

=19. corn=. See note, l. 156, _Sohrab and Rus­tum_.

=30. Ox­ford tow­ers=. “Ox­ford, the coun­ty town of Ox­ford­shire and the seat of one of the most an­cient and cel­ebrat­ed uni­ver­si­ties in Eu­rope, is sit­uat­ed amid pic­turesque en­vi­rons at the con­flu­ence of the Cher­well and the Thames (of­ten called in its up­per course the Isis). It is sur­round­ed by an am­phithe­atre of gen­tle hills, the tops of which com­mand a fine view of the city with its domes and tow­ers.”--BAEDEK­ER'S _Great Britain_, in his _Hand­books for Trav­ellers_. In writ­ing of Ox­ford, Hawthorne says: “The world, sure­ly, has not an­oth­er place like Ox­ford; it is a de­spair to see such a place and ev­er to leave it, for it would take a life­time, and more than one, to com­pre­hend and en­joy it sat­is­fac­to­ri­ly.” See al­so note, l. 19, _Thyr­sis_.

=31. Glanvil's book=. See in­tro­duc­to­ry note to po­em.

=42. erst=. For­mer­ly. (Ob­so­lete ex­cept in po­et­ry.)

=44-50=. See in­tro­duc­to­ry note to po­em.

=57. Hurst=. Cum­ner (or Cum­nor) Hurst, one of the Cum­nor range of hills, some two or three miles south and west of Ox­ford, is crowned with a clump of cedars; hence the name “Hurst.”

=58. Berk­shire moors=. Berk­shire is the coun­ty, or shire, on the south of Ox­ford Coun­ty.

=69. green-​muf­fled=. Ex­plain the ep­ithet. [199] =74. Bablock­hithe=. A small town some four miles west and a lit­tle south of Ox­ford, on the Thames, which at that point is a mere stream crossed by a fer­ry. This and nu­mer­ous oth­er points of in­ter­est in the vicin­ity of Ox­ford are fre­quent­ed by Ox­ford stu­dents; hence Arnold's fa­mil­iar­ity with them and his ref­er­ence to them in this po­em and _Thyr­sis_. See any at­las.

=79. Wych­wood bow­ers=. That is, Wych­wood For­est, ten or twelve miles north and west of Ox­ford. See note, l. 74.

=83. To dance around the Fy­field elm in May=. Fy­field, a parish in Berk­shire, about six miles south­west of Ox­ford. The ref­er­ence here is to the “May-​day” cel­ebra­tions for­mer­ly wide­ly ob­served in Eu­rope, but now near­ly dis­ap­peared. The chief fea­tures of the cel­ebra­tion in Great Britain are the gath­er­ing of hawthorn blos­soms and oth­er flow­ers, the crown­ing of the May-​queen and danc­ing around the May-​pole--here the Fy­field elm. See note, l. 74. Read Ten­nyson's po­em, _The Queen o' the May_.

=91. God­stow Bridge=. Some two miles up the Thames from Ox­ford.

=95. lash­er pass=. An En­glish term cor­re­spond­ing to our _mill race_. The _lash­er_ is the dam, or weir.

=98. out­landish=. An­alyze the word and de­ter­mine mean­ing.

=111. Bagley Wood=. South and west of Ox­ford, be­yond South Hinksey. See note, l. 125; al­so note, l. 74.

=114. tagg'd=. That is, marked; the leaves be­ing col­ored by frost.

=115. Thes­saly=. The north­east­ern dis­trict of an­cient Greece, cel­ebrat­ed in mythol­ogy. Here a for­est ground near Bagley Wood. See note, l. 111; al­so note, l. 74.

=125. Hinksey=. North and South Hinksey are unim­por­tant vil­lages a short dis­tance out from Ox­ford in the Cum­nor Hills. See note, l. 74. [200] =129. Christ Church hall=. The largest and most fash­ion­able col­lege in Ox­ford; found­ed by Car­di­nal Wolsey in 1525. The chapel of Christ Church is al­so the cathe­dral of the dio­cese of Ox­ford.

=130. grange=. Con­sult dic­tio­nary.

=133. Glanvil=. Joseph Glanvil, 1636-1680. A not­ed En­glish di­vine and philoso­pher; au­thor of a de­fence of be­lief in witchcraft.

=140. red-​fruit­ed yew tree=. The yew tree is very com­mon in En­glish buri­al-​grounds. It grows slow­ly, lives long, has a dark, thick fo­liage, and yields a red berry. See Wordsworth's cel­ebrat­ed po­em, _The Yew-​Tree_.

=141-170=. “This note of las­si­tude is struck of­ten--per­haps too of­ten--in Arnold's po­ems.”--DU PONT SYLE. See al­so _The Stan­zas in Mem­ory of the Au­thor of Ober­mann_. For the au­thor's less de­spon­dent mood, see his _Rug­by Chapel_, in­clud­ed in this vol­ume.

=147. teen=. Grief, sor­row; from the old En­glish _teona_, mean­ing in­jury.

=149. the just-​paus­ing Ge­nius=. Does the au­thor here al­lude to death?

=151. Thou hast not lived= (so). That is, as de­scribed in pre­ced­ing stan­za.

=152. Thou hadst one aim=, etc. What was the Schol­ar-​Gip­sy's _one_ mo­tive in life?

=157-160. But thou pos­sess­est an im­mor­tal lot=, etc. Ex­plain.

=165. Which much to have tried=, etc. Which many at­tempts and many fail­ures bring.

=180. do not we ... await it too=? That is, the spark from heav­en. See l. 171.

=182-190=. Pos­si­bly Car­lyle, al­though the au­thor may have had in mind a type rather than an in­di­vid­ual.

=208-209. Averse, as Di­do did=, etc. Di­do, the myth­ical queen of Carthage, be­ing de­sert­ed by her lover AE­neas, slew her­self. She af­ter­ward met him on his jour­ney through Hades, but turned from him in scorn. [201] “In vain he thus at­tempts her mind to move With tears and prayers and late re­pent­ing love; Dis­dain­ful­ly she looked, then turn­ing round But fixed her eyes un­moved up­on the ground, And what he says and swears re­gards no more Than the deaf rocks when the loud bil­lows roar.” --DRY­DEN'S _Trans­la­tion_.

For en­tire episode, see _AEneid_, vi, 450-476.

=212. in­vi­olable shade=. Holy, sa­cred, not sus­cep­ti­ble to cor­rup­tion. Per­haps no oth­er of Arnold's lines is so much quot­ed as this and the pre­ced­ing line.

=214=. Why “sil­ver'd” branch­es?

=220=. din­gles. Wood­ed dells.

=231-250=. Note the force of this elab­orate and exquisite­ly sus­tained im­age; how the mind is car­ried back from these tur­bid days of sick un­rest to the clear dawn of a fresh and healthy civ­iliza­tion. In the course of an es­say on Arnold, the late Mr. Richard Holt Hut­ton says of this po­em and this clos­ing pic­ture: “That most beau­ti­ful and grace­ful po­em on the _Schol­ar-​Gip­sy_ (the Ox­ford stu­dent who is said to have for­sak­en aca­dem­ic study in or­der to learn, if it might be, those po­tent se­crets of na­ture, the tra­di­tions of which the gyp­sies are sup­posed sed­ulous­ly to guard) ends in a di­gres­sion of the most vivid beau­ty.... Noth­ing could il­lus­trate bet­ter than this [clos­ing] pas­sage Arnold's ge­nius and his art.... His whole drift hav­ing been that care and ef­fort and gain and pres­sure of the world are sap­ping hu­man strength, he ends with a pic­ture of the old-​world pride and dar­ing, which ex­hibits hu­man strength in its fresh­ness and vig­or.... I could quote po­em af­ter po­em which Arnold clos­es by some such buoy­ant di­gres­sion: a buoy­ant di­gres­sion in­tend­ed to shake off the tone of melan­choly, and to re­mind us that the world of imag­ina­tive life is still wide open to us.... This prob­lem is in­sol­uble, he seems to say, but in­sol­uble or not, let us re­call the pris­tine force of the hu­man spir­it, and not for­get that we have ac­cess to great re­sources still.... Arnold, exquisite as his po­et­ry is, teach­es us first to feel, and then to put by, the cloud of mor­tal des­tiny. But he does not teach us, as Wordsworth does, to bear it.” [202]

=232. As some grave Tyr­ian trad­er, etc=. Tyre, the sec­ond old­est and most im­por­tant city of Phoeni­cia, was, in an­cient times, a strong com­peti­tor for the com­mer­cial suprema­cy of the Mediter­ranean.

=236. AEgean Isles=. The AEgean Sea, that part of the Mediter­ranean ly­ing be­tween Greece on the west, Eu­ro­pean Turkey on the north, and Asia Mi­nor on the east, is dot­ted with nu­mer­ous small is­lands, many of which are fa­mous in Greek mythol­ogy.

=238. Chi­an wine=. Chios, or Scio, an is­land in the AEgean Sea (see note above), was for­mer­ly cel­ebrat­ed for its wine and figs.

=239. tun­nies=. A fish be­long­ing to the mack­er­el fam­ily; found in the Mediter­ranean Sea.

=244. Mid­land wa­ters=. The Mediter­ranean Sea.

=245. Syrtes=. The an­cient name of Gulf of Sidra, off North Africa, the chief arm of the Mediter­ranean on the south, =soft Sici­ly=. Sici­ly is not­ed for its de­light­ful cli­mate; hence the term, “soft Sici­ly.”

=247. west­ern straits=. Strait of Gibral­tar.

=250. Iberi­ans=. In­hab­itants of the Iberi­an Penin­su­la, formed by Por­tu­gal and Spain.

What at­mo­sphere is giv­en the po­em by the first stan­za? What quest is to be be­gun, l. 10? What caused the “Schol­ar” to join him­self to the gip­sies? What were his orig­inal in­ten­tions? Why, then, did he con­tin­ue with them till his death? Why would he avoid oth­ers than mem­bers of the gip­sy crew? Why his pen­sive air? To what truth does the au­thor sud­den­ly awake? How does the Schol­ar-​Gip­sy yet live to him? Ex­plain ful­ly lines 180-200. Note care­ful­ly the au­thor's con­trast be­tween the life led by the Schol­ar-​Gip­sy and our mod­ern life. Which is bet­ter? Why? Make an ap­pli­ca­tion of the fig­ure of the Tyr­ian trad­er. Is it apt? Why used by the po­et? Dis­cuss the verse form used. Is it adapt­ed to the theme of the po­em? [203]

THYR­SIS

A mon­ody to com­mem­orate the au­thor's friend, Arthur Hugh Clough, who died at Flo­rence, 1861.

Through­out this po­em there is ref­er­ence to the pre­ced­ing se­lec­tion, _The Schol­ar-​Gip­sy_, of which it is the com­pan­ion piece, and, in a sense, the se­quel. It is one of the four great ele­gies in the En­glish lan­guage.

Thyr­sis is a name com­mon to both an­cient and mod­ern lit­er­ature. In the Idyls of The­ocri­tus it is used as the name of a herds­man; in the Eclogues of Vergil, of a shep­herd; while in lat­er writ­ings it has come to mean any rus­tic.

Arthur Hugh Clough (1819-1861), whose po­et­ry is close­ly akin in spir­it to Arnold's, was a young man of ge­nius and promise. He stud­ied at both Rug­by and Ox­ford, where he and Arnold were in­ti­mate­ly as­so­ci­at­ed and be­came fast friends. In 1869 his health be­gan to fail, and two years lat­er he died in Flo­rence, Italy, where he had gone in the hope of be­ing ben­efit­ed by the cli­mate.

Arnold, in a let­ter to his moth­er dat­ed April, 1866, says of his po­em: “Tell dear old Ed­ward [Arnold] that the dic­tion of the Thyr­sis was mod­elled on that of The­ocri­tus, whom I have been much read­ing dur­ing the two years this po­em has been form­ing it­self, and that I meant the dic­tion to be so art­less as to be al­most heed­less. How­ev­er, there is a mean which must not be passed, and be­fore I reprint this I will con­sid­er well all ob­jec­tions. The im­ages are all from ac­tu­al ob­ser­va­tion.... The cuck­oo in the wet June morn­ing, I heard in the gar­den at Wood­ford, and all those three stan­zas, which you like, are rem­inis­cences of Wood­ford. Ed­ward has, I think, fixed on the two stan­zas I my­self like best: 'O easy ac­cess,' and 'And long the way ap­pears.' I al­so like 'Where is the girl,' and the stan­za be­fore it; but that is be­cause they bring cer­tain places and mo­ments be­fore me.... It is prob­ably too qui­et a po­em for the gen­er­al taste, but I think it will stand wear.” To his friend, John Camp­bell Shairp, Arnold wrote, a few days lat­er: “Thyr­sis is a very qui­et po­em, but, I think, sol­id and sin­cere. It will not be pop­ular, how­ev­er. It had long been in my head to con­nect Clough with that Cum­ner coun­try, and, when I be­gan, I was car­ried ir­re­sistibly in­to this form. You say, tru­ly, that there was much in Clough (the whole prophet­ic side, in fact) which one can­not deal with in this way.... Still, Clough had the idyl­lic side, too; to deal with this suit­ed my de­sire to deal again with that Cum­ner coun­try. Any­way, on­ly so could I treat the mat­ter this time. _Valeat quan­tum_.” [204]

=1.= Note how the tone of the po­em is struck in the first line.

=2. In the two Hinkseys.= That is, North and South Hinksey. See note, l. 125, _The Schol­ar-​Gip­sy._

=4. Sibyl­la's name.= In an­cient mythol­ogy the Sibyls were cer­tain wom­en re­put­ed to pos­sess spe­cial pow­ers of prophe­cy, or div­ina­tion, and who claimed to make spe­cial in­ter­ces­sion with the gods in be­half of those who re­sort­ed to them. Do you see why their “name” would be used on signs as here men­tioned?

=6. ye hills.= See note, l. 30, _The Schol­ar-​Gip­sy._

=14. Il­sley Downs.= The sur­face of East and West Il­sley parish­es, in Berk­shire, some twelve or four­teen miles south of Ox­ford, is bro­ken by ranges of plateau-​like hills, known in Eng­land as _downs_.

=15. The Vale.= White Horse Vale; the up­per val­ley of the Riv­er Ock, west­ward from Ox­ford. =weirs=. See note, l. 95, _The Schol­ar-​Gip­sy._ [205] =19. And that sweet city with her dream­ing spires.= Arnold's in­tense love for Ox­ford and the sur­round­ing coun­try ap­pears in many of his es­says and po­ems. In the in­tro­duc­tion to his _Es­says on Crit­icism_, Vol. I, oc­curs the fol­low­ing trib­ute: "Beau­ti­ful city! so ven­er­able, so love­ly, so un­rav­aged by the fierce in­tel­lec­tu­al life of our cen­tu­ry, so serene!

'There are our young bar­bar­ians all at play!'

And yet, steeped in sen­ti­ment as she lies, spread­ing her gar­ments to the moon­light, and whis­per­ing from her tow­ers the last en­chant­ment of the Mid­dle Age, who will de­ny that Ox­ford, by her in­ef­fa­ble charm, keeps ev­er call­ing us near­er the true goal of all of us, to the ide­al, to per­fec­tion--to beau­ty, in a word, which is on­ly truth seen from an­oth­er side?... Home of lost caus­es and for­sak­en be­liefs and un­pop­ular names and im­pos­si­ble loy­al­ties! what ex­am­ple could ev­er so in­spire us to keep down the Philis­tine in our­selves, what teach­er could ev­er so save us from that bondage to which we are all prone, that bondage which Goethe, in his in­com­pa­ra­ble lines on the death of Schiller, makes it his friend's high­est praise ... to have left miles out of sight be­hind him: the bondage of 'was uns alle baendigt, Das Gemeine'?"

=20.= Com­pare with Low­ell's lines on June, in _The Vi­sion of Sir Laun­fal_.

=22-23.= Ex­plain.

=24. Once pass'd I blind­fold here.= That is, at one time I could have passed here blind­fold­ed, be­ing so fa­mil­iar with the coun­try. Can you think of any oth­er pos­si­ble in­ter­pre­ta­tion?

=26-30.= Ex­plain.

=31-40.= Com­pare the thought here to that of Mil­ton's _Ly­ci­das_, ll. 23-38. A com­par­ison of the two po­ems en­tire, in thought and struc­ture, will be found to be both in­ter­est­ing and prof­itable. =Shep­herd-​pipe= (l. 35). The term =pipe=, al­so reed (l. 78), is con­tin­ual­ly used in pas­toral verse as sym­bol­ic of po­et­ry and song. [206]

=38-45. Needs must I lose them=, etc. That is, I must lose them, etc. Arnold's great am­bi­tion was to de­vote his life to lit­er­ature, which cir­cum­stances large­ly pre­vent­ed; while Clough was ea­ger to take a more ac­tive part in life, not be­ing con­tent with the un­event­ful ca­reer of a po­et, =irk'd= (l. 40). An­noyed; wor­ried. =keep= (l. 43). Here used in the sense of re­main, =sil­ly= (l. 45). Harm­less; sense­less. The word has an in­ter­est­ing his­to­ry.

=46-50=. Like Arnold, Clough held lofty ide­als of life, and grieved to see men liv­ing so far be­low their priv­ileges. This, with his loss of faith in God, tinged his po­et­ry with sad­ness. The storms (l. 49) al­lude to the spir­itu­al, po­lit­ical, and so­cial un­rest of the last of the first half, and first of the last half, of the nine­teenth cen­tu­ry.

=51-60. So ... So....= Just as the cuck­oo de­parts with the bloom of the year, so he (Clough) went, l. 48. =With blos­soms red and white= (l. 55). The white thorn, or hawthorn, very com­mon in En­glish gar­dens.

=62. high Mid­sum­mer pomps=. Ex­plained in the fol­low­ing lines.

=71. light com­er=. That is, the cuck­oo. Com­pare

“O blithe New-​com­er.” --WORDSWORTH, _Lines to the Cuck­oo_.

=77. swains=. Con­sult dic­tio­nary.

=78. reed=. See note, l. 35 of po­em.

=79. And blow a strain the world at last shall heed=. On the whole, Clough's po­et­ry was ei­ther ig­nored or harsh­ly crit­icised by the re­view­ers.

=80. Cory­don=. In the Idyls of The­ocri­tus, Cory­don and Thyr­sis, shep­herd swains, com­pete for a prize in mu­sic.

=84. Pip­ing a dit­ty sad for Bion's fate=. Bion of Smyr­na, Asia Mi­nor, a cel­ebrat­ed bu­col­ic po­et of the sec­ond cen­tu­ry B.C., spent the lat­er years of his life in Sici­ly, where it is sup­posed he was poi­soned. His un­time­ly death was lament­ed by his fol­low­er and pupil, Moschus of Syra­cuse, in an idyl marked by melody and gen­uine pathos. =dit­ty=. In a gen­er­al sense, any song; usu­al­ly con­fined, how­ev­er, to a song nar­rat­ing some hero­ic deed. [207]

=85. cross the un­per­mit­ted fer­ry's flow=. That is, cross the riv­er of Woe, over which Charon fer­ried the shades of the dead to Hades. Mythol­ogy records sev­er­al in­stances, how­ev­er, of the fer­ry be­ing passed by mor­tals. See note, ll. 34-39, _Memo­ri­al Vers­es_; al­so ll. 207-210, _The Schol­ar-​Gip­sy_, of this vol­ume.

=88-89. Pros­er­pine=, wife to Plu­to (l. 86) and queen of the un­der­world, was an­cient­ly hon­ored, with flow­er fes­ti­vals in Sici­ly, as the god­dess of the spring.

=90. And flute his friend like Or­pheus=, etc. See note, ll. 34-39, _Memo­ri­al Vers­es_.

=94. She knew the Do­ri­an wa­ter's gush di­vine=. The riv­er Alpheus, in the north­west­ern part of the Pelo­pon­nesus--the coun­try of the Do­ri­ans--dis­ap­pears from the sur­face and flows in sub­ter­ranean chan­nels for some con­sid­er­able part of its course to the sea. In an­cient Greek mythol­ogy it was re­put­ed to rise again to the sur­face in cen­tral Sici­ly, in the vale of En­na, the fa­vorite haunt of Pros­er­pine, as the foun­tain of Arethusa.

=95-96. She knew each lily white which En­na yields=, etc. Ac­cord­ing to Greek mythol­ogy, Pros­er­pine was gath­er­ing flow­ers in the vale of En­na when car­ried off by Plu­to.

=97. She loved the Do­ri­an pipe=, etc. What rea­son or rea­sons can you give for Pros­er­pine's love of things Do­ri­an?

=106. I know the Fy­field tree=. See l. 83, _The Schol­ar-​Gip­sy_.

=109. En­sham, San­ford=. Small towns on the Thames; the for­mer, some four miles above Ox­ford; the lat­ter, a like dis­tance be­low.

=123. Wytham flats=. Some three miles above Ox­ford, along the Thames. [208] =135. sprent. Sprin­kled=. The preter­it or past par­tici­ple of _spreng_ (ob­so­lete or ar­cha­ic).

=141-150=. Ex­plain.

=155. Berk­shire=. See note, l. 58, _The Schol­ar-​Gip­sy_.

=167. Arno-​vale=. The val­ley of the Arno, a riv­er in Tus­cany, Italy, on which Flo­rence is sit­uat­ed.

=175. To a boon ... coun­try he has fled=. That is, to Italy.

=177. the great Moth­er=. Ceres, the earth god­dess.

=181-190=. Daph­nis, the ide­al Si­cil­ian shep­herd of Greek pas­toral po­et­ry, was said to have fol­lowed in­to Phry­gia his mis­tress Pi­plea, who had been car­ried off by rob­bers, and to have found her in the pow­er of the king of Phry­gia, Lity­ers­es. Lity­ers­es used to make strangers try a con­test with him in reap­ing corn, and to put them to death if he over­came them. Her­cules ar­rived in time to save Daph­nis, took up­on him­self the reap­ing con­test with Lity­ers­es, over­came him, and slew him. The Lity­ers­es-​song con­nect­ed with this tra­di­tion was, like the Li­nus-​song, one of the ear­ly, plain­tive strains of Greek pop­ular po­et­ry, and used to be sung by the corn reapers. Oth­er tra­di­tions rep­re­sent­ed Daph­nis as beloved by a nymph, who ex­act­ed from him an oath to love no one else. He fell in love with a princess, and was struck blind by the jeal­ous nymph. Mer­cury, who was his fa­ther, raised him to heav­en, and made a foun­tain spring up in the place from which he as­cend­ed. At this foun­tain the Si­cil­ians of­fered year­ly sac­ri­fices. See Servius, _Com­ment, in Vergil. Bu­col_., V, 20, and VI­II, 68.

=191-200=. Ex­plain the lines. =Sole= (l. 192). See l. 563, _Sohrab and Rus­tum_. =soft sheep= (l. 198). Note the use of the ad­jec­tive _soft_. Cf. _soft Sici­ly_, l. 245, _The Schol­ar-​Gip­sy_.

=201-202. A fugi­tive and gra­cious light=, etc. What is the light sought by the Schol­ar-​Gip­sy and by the po­et? Be­gin­ning with l. 201, ex­plain the suc­ceed­ing stan­zas, sen­tence by sen­tence, to the close of the po­em. Then sum up the thought in a few words. [209] What is the au­thor's mood, as shown by the first stan­za? What is his pur­pose in re­call­ing the haunts once fa­mil­iar to him about Ox­ford? Why the men­tion of the Schol­ar-​Gip­sy? What is the sig­nif­icance of the “tree” so fre­quent­ly al­lud­ed to in the po­em? Dis­cuss stan­zas 4 and 5 as to mean­ing. To what is Thyr­sis (Clough) likened in stan­zas 6, 7, and 8? Where, how­ev­er, is there a dif­fer­ence? Ap­ply ll. 81-84 to Clough and Arnold. How do you ex­plain the “easy ac­cess” of the Do­ri­an shep­herds to Pros­er­pine, l. 91? What di­gres­sion is made in ll. 131-150? What is the po­et's at­ti­tude to­ward life? Why will he not de­spair so long as the “lone­ly tree” re­mains? What com­par­ison does he make be­tween Clough and the Schol­ar-​Gip­sy? What is the “gra­cious light,” l. 201? Where found? What voice whis­pers to him amid the “heart-​weary­ing roar” of the city? What ef­fect does it have up­on him? Does it give him courage or for­ti­tude? Dis­cuss the verse form and dic­tion of the po­em.

RUG­BY CHAPEL

_Rug­by Chapel_ (1857), one of Arnold's best-​known and most char­ac­ter­is­tic pro­duc­tions, was writ­ten in mem­ory of his fa­ther, Dr. Thomas Arnold, fa­mous as the great head-​mas­ter at Rug­by. Dr. Arnold was born at East Cowes in the Isle of Wight, June 13, 1795, and as a boy was at school at Warmin­ster and Winch­ester. In 1811 he en­tered Cor­pus Christi Col­lege, Ox­ford, and hav­ing won recog­ni­tion as a schol­ar, was award­ed a fel­low­ship of the Oriel in 1815. Three years lat­er he set­tled at Lale­ham, where, in 1820, he mar­ried Mary Pen­rose, daugh­ter of Jus­tice Pen­rose, and where, two years lat­er, was born Matthew, who was des­tined to win marked dis­tinc­tion among En­glish men of let­ters. In 1827 he was elect­ed head-​mas­ter at Rug­by, and short­ly af­ter­ward be­gan those im­por­tant re­forms which have placed him among the great­est ed­uca­tors of his cen­tu­ry. Chief among his writ­ings is his _His­to­ry of Rome_, pub­lished in sev­er­al vol­umes. In 1841 he was ap­point­ed Regius Pro­fes­sor of His­to­ry at Ox­ford. He died very sud­den­ly on Sun­day, June 12, 1842, and on the fol­low­ing Fri­day his re­mains were in­terred in the chan­cel of Rug­by Chapel, im­me­di­ate­ly un­der the com­mu­nion ta­ble. [210]

In his po­em Arnold has drawn a vivid pic­ture of a strong, help­ful, hope­ful, un­selfish soul, cheer­ing and sup­port­ing his weak­er com­rades in their up­ward and on­ward march--a pic­ture of the guide and com­pan­ion of his ear­li­er years; and in so do­ing he has pre­served his fa­ther's mem­ory to pos­ter­ity in a strik­ing and an abid­ing way.

=1-13=. Note care­ful­ly the tone of these in­tro­duc­to­ry lines, and de­ter­mine the po­et's pur­pose in open­ing the po­em in this mood. The pic­ture in­evitably calls to mind Bryant's lines, _The Death of Flow­ers_.

=16. gloom=. The key-​word to the pre­ced­ing lines. Ex­plain why it calls to mind the po­et's fa­ther. Keats makes a sim­ilar use of the word _for­lorn_ in his _Ode to the Nightin­gale_.

“... for­lorn. For­lorn! the very word is like a bell To toll me back from thee to my sole self.”

=30-33=. Dis­cuss the fig­ure as to its apt­ness.

=37. shore=. A word com­mon to hymns.

=38-57=. Dis­cuss the po­et's idea of the fu­ture life as set forth in these lines. Can you think of any oth­er au­thor or au­thors who have held a like view?

=58-59=. The po­et asks this ques­tion on­ly to an­swer it in the lines fol­low­ing. Com­pare and con­trast the two class­es of men spo­ken of; their aims in life and their achieve­ments. Why is the path of those who have cho­sen a “clear-​pur­posed goal” pic­tured so dif­fi­cult? Who are they that start well, but fall out by the way­side? [211]

=90-93=. Com­pare with By­ron's de­scrip­tion of a storm in the Alps, Can­to III, _Childe Harold_.

“Far along, From peak to peak, the rat­tling crags among Leaps the live thun­der.”

=98-101=. So un­sta­ble is the hold of the “snow-​beds” on the moun­tain sides that trav­ellers pass­ing be­neath them are for­bid­den by the guides to speak, lest their voic­es pre­cip­itate an avalanche. See ll. 160-169, _Sohrab and Rus­tum_.

=117-123=. What hu­man frail­ties are in­di­cat­ed in the an­swer to the host's ques­tion? Note the con­trast in the suc­ceed­ing lines.

=124-144=. The im­agery of these lines is drawn from Dr. Arnold's life at Rug­by. Un­der his care fre­quent ex­cur­sions were made in­to the neigh­bor­ing West­more­land Hills. Noth­ing per­haps gives a bet­ter idea of the man than the de­scrip­tion of his “de­light in those long moun­tain walks, when they would start with their pro­vi­sions for the day, him­self the guide and life of the par­ty, al­ways on the look­out how best to break the as­cent by gen­tle stages, com­fort­ing the lit­tle ones in their falls and help­ing for­ward those who were tired, him­self al­ways keep­ing with the lag­gers, that none might strain their strength by try­ing to be in front with him; and then, when his as­sis­tance was not want­ed, the liveli­est of all--his step so light, his eye so quick in find­ing flow­ers to take home to those who were not of the par­ty.”--ARTHUR PEN­RHYN STAN­LEY.

=171. In the rocks=. That is, among the rocks.

=190. Ye=. An­tecedent?

=208. City of God=.

“There is a riv­er the streams where­of shall make glad the _city of God_.” --_Psalms_, xlvi: 4.

* * * * *

IN­DEX TO NOTES

Abbey tow­ers, 192. Ad­er-​bai­jan, 166. AEgean Isles, 202, Afrasiab, 156. Agog, 188. Ajax, 189. Al­cme­na's dread­ful son, 182. All red ... bathed in foam, 170. Aloof he sits, etc., 159. And that ... more, 169, Ar­ios­to, 192. Arno-​vale, 208. Art, 180. Arthur's court, 169. Art them not Rus­tum? 160. Aso­pus, 181. As some grave Tyr­ian trad­er, etc., 202 As when some hunter, etc., 162. At my boy's years, 156. At­truck, 158. _Aus­ter­ity of Po­et­ry_, 194. Averse, as Di­do did, etc., 200.

Bablock­hithe, 199. Bagley Wood, 199. Bahrein, 160. Beethoven, 192. Be gov­ern'd, 160. Bel­grave Square, 195. Bell, 166. Berk­shire moors, 198. Beth­nal Green, 195. Blessed sign, 171. Blow a strain the world at last shall heed, 206. Bokhara, 157. Bow'd his head, 161. Breathed on by ru­ral Pan, 178. Broce-​liande, 174. Bruit­ed up, 162. By­ron, 196. By thy fa­ther's head, 160.

Cab­in'd, 177. Ca­bool, 159. Caked the sand, 163. Cas­bin, 157. Cen­taurs, 181. Cham­bery, 176. Chan­cel, 176. Chate­laine, 170. Chi­an wine, 202. Chiel, 188. Chis­ell'd broi­deries, 176. Choras­ma, 163. Choras­mi­an stream, 181. Christ Church hall, 199 Cirque, 172. City of God, 211. Clus­ters of lone­ly mounds, 181 Cob­ham, 187. Com­mon chance, 156. Com­mon fight, 156. _Con­so­la­tion_, 177. Cool gallery, 177. Corn, 158. Corse­let, 162. Cory­don,206. Crest, 161. Cross and re­cross, 198. Cross the un­per­mit­ted fer­ry's flow, 207. Cruse, 198. Cun­ning, 162. Cur­dled, 161.

Dais, 176. Dance around the Fy­field elm in May, 199. Dante, 192. Daph­nis, 208. Daulis, 185. Dear­er to the red jack­als, etc., 162. Des­tiny, 178. De­vice, 160. Dight, 160. Din­gles, 201. Dit­ty, 207. Dogg'd, 172. Do not we ... await it too? 200. _Dover Beach_, 183.

_East Lon­don_, 195. Em­pire, 174. En­sham, 207. _Epi­logue to Ris­ing's Lao­cooen_, 191. Erst, 198. Eter­nal pas­sion! eter­nal pain! 185, Eu­ry­dice, 197. Even clime, 194.--

Fal­con, 159. Fane, 180. Far­ring­ford, 187. Faun with torch­es, 183. Favour'd guest of Circe, 180. Fay,170. Fay, 174. Fell-​fare, 173. Fer­ghana, 158. Fer­ment the milk of mares, 157. Fight un­known and in plain arms,159. Find a fa­ther thou hast nev­er seen,156. First grey of morn­ing fill'd the east, 155. Fix'd, 158. Flow­ers, 160. Flute his friend, like Or­pheus,' etc., 207. Fo­liaged mar­ble for­est, 177. Fool­ish, 195. For a cloud, etc., 161. Fret­work, 176. Frore, 157. Fugi­tive and gra­cious light, etc. 208. Full struck, 161.

Geist, 188. _Geist's Grave_, 191. Girl's wiles, 161. Glad, 161. Glanc­ing, 161. Glanvil, 200. Glanvil's book, 198. Glass, 162. Gloom, 210. God­stow Bridge, 199. Goethe, 192. Goethe in Weimar sleeps, 196. Go to! 159. Grand Old Man, 188. Grange, 200. Great Moth­er, 208. Green isle, 169. Green-​muf­fled, 199. Grif­fin, 162. Gulls, 173.

Hair that red, 164. Haman, 157. Hap­py Is­lands, 181. Hark ... sun, 166. Have found, 162. Heap a state­ly mound, etc., 163. Heaths starr'd with broom, 166. Heats, 194. He­brides, 164. Hec­tor, 189. He­len, 190. Helm, 161. Hel­mund, 163. Hera's anger, 181. Heroes, 182. He spoke ... men, 159. Hies, 193. High Mid­sum­mer pomps, 206. Hinksey, 199. His long ram­bles ... ground, 170. Hol­low, 161. Hol­ly trees and ju­niper, 172. Holy Las­sa, 177. Holy well, 166. Homer, 193. Homi­ly, 191. Honied noth­ings, 172. How thick the bursts, etc., 185. Huge world, 178. _Hu­man Life_,186. Hur­ry­ing fever, 194. Hurst, 198. Hurtling Po­lar lights, 164. Hy­daspes, 161. Hyde Park, 191. Hy­pha­sis, 161.

Iac­chus, 180. Iberi­ans, 202. I came ... pass­ing wind, 162. I know the Fy­field tree, 207. Il­sley Downs, 204. Incog­nis­able, 186. In­di­an Cau­ca­sus, 159. In his light youth, 194. In­ly-​writ­ten chart, 186. In­vi­olable shade, 201. Iran, 159. Irk'd, 206. Iron age, 196. Iron coast, 173. Iseult, 169. Is Mer­lin pris­on­er, etc., 174. _Iso­la­tion_, 186. Is she not come? 168. Ivy-​cinc­tured, 179.

Jaxartes, 158. Jop­pa, 164. Joy, 194. Just-​paus­ing Ge­nius, 200.

Kai Khos­roo, 159. _Kaiser Dead_, 187. Kalmucks, 158. Kara Kul, 157. Keep, 206. Ken, 195. Kept un­in­fringed my na­ture's law, 186. Khi­va, 157. Kho­ras­san, 158. Kin­dled, 161. King Marc, 169. Kipchak, 158. Kirghizzes, 158. Ko­hik, 163. Kuz­zaks, 158.

Lap­ithae, 182. Lash­er pass, 199. Launcelot's guest at Joy­ous Gard, 170. Leads, 177. Lea­guer, 171. Lep­er rec­ol­lect, 164. Light com­er, 206. Like that au­tumn star, 161. Like that bold Cae­sar, etc., 173. _Lines Writ­ten in Kens­ing­ton Gar­dens_, 178. Li­on's heart, 159. Li­ons sleep­ing, 180. Lips that rarely form them now, 191. Lity­ers­es, 208. Loud Tyn­tagel's hill, 169. Love­ly or­phan child, 170. Lu­mi­nous home, 163. Ly­oness, 169.

Mae­nad, 183. Mail, 166. Mar­cus Au­re­lius, 194. Mar­garet, 165. Matin-​chime, 176. _Memo­ri­al Vers­es_, 196. Mendelssohn, 192. Mid­land wa­ters, 202. Milk-​barr'd onyx-​stones, 181. Mis­erere Domine, 192. Moon, 187. Moon­struck knight, 171. Moorghab, 163. Moun­tain-​chalets, 176. Move­ment, 193 Mozart, 192. Mus­es, 180. My princess ... good night, 171.

Needs must I lose them, etc., 206. Nev­er was that field lost or that foe saved, 160. New bathed stars, 163. North­ern Sir, 163. Nymphs, 180.

O'er ... sea, 169. Of age and looks, etc., 162. Old-​world Bre­ton his­to­ry, 173. Once pass'd I blind­fold here, 205. One les­son, 193. One slight help­less girl, 159. On that day, 163. Orgun­je, 163. Or­pheus, 197. Out­landish, 199. Ox­ford tow­ers, 198. Oxus, 155. O wan­der­er from a Gre­cian shore, 184.

Painter and mu­si­cian too, 193. _Pal­la­di­um_, 189. Palmers, 176. Pamere, 156. Pan's flute mu­sic, 180. Pass­ing weary, 175. Pau­sa­nias, 191. Pe­lion, 181. Pen-​bryn's bold bard, 187. Per­an-​Wisa, 156. Perse­po­lis, 163. Per­sian King, 157. Pe­rused, 160. Pe­trar­ch, 192. _Philomela_ 184. Phoe­bus-​guard­ed ground, 191. Pip­ing a dit­ty sad for Bion's fate, 206. Pleasaunce-​walks, 169. Post­ing here and there, 173. Pots­dam, 188. Prick'd up­on this arm, etc., 162. Prick­ers, 176. Prie-​dieu, 173. Priest, 166. Prince Alexan­der, 174. Prore, 186. Pros­er­pine, 207.

_Qui­et Work_, 193.

Range, 180. Raphael, 192. Rates, 195. Recks not, 171. Red-​fruit­ed yew tree, 200. Reed, 205. Re­mem­ber all thy val­our, 161. _Re­qui­escat_, 177. Ride, 192. Right for the po­lar star, 163. Ro­man Em­per­or, 171. Rotha, 197. Rout, 180. _Rug­by Chapel_, 209. Rus­tum! 161.

Sack­cloth, 194. _Saint Bran­dan_, 164. Samar­cand, 156. Sand­ford, 207. Sate, 159. Savoy, 176. Sconce, 172. Scythi­an ... em­bers, 181. Seal'd, 166. Se­cret in his breast, 171. See what the day brings, 180. Seis­tan, 156. _Self-​De­pen­dence_, 190. Self-​mur­der, 164. Seneschal, 173. Shake­speare, 193. _Shake­speare_, 193. She knew each lily white which En­na yields, etc., 207. She knew the Do­ri­an wa­ter's gush di­vine, 207. She loved the Do­ri­an pipe, etc., 207. Shep­herd-​pipe, 205. Shore, 161. Sibyl­la's name, 204. Silenus, 183. Sil­ly, 206. Simois, 189. Skye, 188. Snow-​haired Zal, 159. Soft sheep, 208. Soft Sici­ly, 202. _Sohrab and Rus­tum_, 149. Sole, 162. Son of Italy, 194. Sopho­cles, 183. So ... So ..., 206. Soudan, 174. South, 192. Spi­tal­fields, 195. Sprent, 208. Stagshorn, 173. Stem, 186. Stranger-​knight, ill-​starr'd, 170. Strange unloved up­roar, 178. Style, 162. Sunk, 156. Sun sparkled, etc., 161. Swains, 206. Syrtes, 202.

Tagg'd, 199. Tale, 160. Tar­tar camp, 155. Tas­so, 192. Teen, 200. Tejend, 163. That old king, 162. That sweet city with her dream­ing spires, 205. Thebes, 181. _The Church of Brou_, 176. _The For­sak­en Mer­man_, 165. _The Last Word_, 188. There, go! etc., 157. _The Schol­ar-​Gip­sy_, 197. Thes­saly, 199. _The Strayed Rev­eller_, 179. Thine ab­sent mas­ter, 191. Thou had'st one aim, etc., 200. Thou hast not lived, 200. Thou pos­sess­est an im­mor­tal lot etc., 200. Thou wilt not fright me so, 160. Thra­cian wild, 184. _Thyr­sis_, 203. Tire­sias, 181. Ti­tans, 196. To a boon ... coun­try he has fled, 208. Too clear web, etc., 185. Toork­muns, 158. Tow­er'd, 160. Transept, 176. Tried, 160. _Tris­tram and Iseult_, 167. Troy, 182. Tukas, 158. Tun­nies, 202. Tyn­tagel, 169.

Ulysses, 180. Un­con­scious hand, 162. Un­known sea, 182. Un­nat­ural, 161.

Va­cant, 192. Vale, 204. Vast, 160. Vasty, 177. Vaunt, 160. Vir­gilian cry, 191.

Wan­ders, 169. Wat­tled cotes, 198. Weirs, 204. Wel­comed here, 170. West­ern straits, 202. _West Lon­don_, 195. What boots it, 171. What end­less ac­tive life, 178. What foul fiend rides thee? 171. Whether that ... or in some quar­rel, 157. Which much to have tried, etc., 200. Wild white hors­es, 165. Wim­ple, 174. With a bit­ter smile, etc., 161. With blos­soms red and white, 206. Wordsworth, 192. _World­ly Place_, 194. Wrack, 161. Wych­wood bow­ers, 199. Wytham flats, 207.

Xan­thus, 189.

Yel­low Tiber, 177. Yes, 187. _Youth's Ag­ita­tions_, 194.

Zal, 157. Zir­rah, 163.

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