Matthew Arnold

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Arnold, Matthew,

1822–88, English poet and critic, son of the educator Dr. Thomas ArnoldArnold, Thomas,
1795–1842, English educator, b. Isle of Wight, educated at Winchester school and at Corpus Christi College, Oxford. He was a fellow of Oriel College, Oxford, from 1815 to 1819, was ordained deacon in 1818, and was from 1827 to 1842 headmaster of Rugby
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Arnold was educated at Rugby; graduated from Balliol College, Oxford in 1844; and was a fellow of Oriel College, Oxford in 1845. In 1851, after a period as secretary to the 3d marquess of Lansdowne, Arnold was appointed inspector of schools, a position he held until 1886, two years before his death. During his tenure he went on a number of missions to European schools. He was impressed with some educational systems on the Continent—most particularly the concept of state-regulated secondary education—and wrote several works about them.

His first volume of poems, The Strayed Reveller, appeared in 1849; it was followed by Empedocles on Etna (1852). Dissatisfied with both works, he withdrew them from circulation. Poems (1853) contained verse from the earlier volumes as well as new poems, including "The Scholar Gypsy" and "Sohrab and Rustum." Poems: Second Series appeared in 1855 and was followed by Merope: A Tragedy (1858) and New Poems (1867); the latter volume included "Thyrsis," his famous elegy on Arthur Hugh CloughClough, Arthur Hugh
, 1819–61, English poet. He was educated at Rugby and Balliol College, Oxford, where he became friends with Matthew Arnold. After graduation (1841) he was fellow and tutor of Oriel College until 1848 when he resigned.
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Arnold's verse is characterized by restraint, directness, and symmetry. Though he believed that poetry should be objective, his verse exemplifies the romantic pessimism of the 19th cent., an age torn between science and religion. His feelings of spiritual isolation are reflected in such poems as "Dover Beach" and "Isolation: To Marguerite."

Matthew Arnold was also one of the most important literary critics of his age. From 1857 to 1867 he was Professor of Poetry at Oxford; during this time he wrote his first books of criticism, including On Translating Homer (1861), Essays in Criticism (1865; Ser. 2, 1888), and On the Study of Celtic Literature (1867). In Culture and Anarchy (1869) and Friendship's Garland (1871) he widened his field to include social criticism. Arnold's interest in religion resulted in St. Paul and Protestantism (1870), Literature and Dogma (1873), and Last Essays on Church and Religion (1877). In the 1880s he gave several lectures in the United States, which were published as Discourses in America (1885).

Arnold was the apostle of a new culture, one that would pursue perfection through a knowledge and understanding of the best that has been thought and said in the world. He attacked the taste and manners of 19th-century English society, particularly as displayed by the "Philistines," the narrow and provincial middle class. Strongly believing that the welfare of a nation is contingent upon its intellectual life, he proclaimed that intellectual life is best served by an unrestricted, objective criticism that is free from personal, political, and practical considerations.


See various editions of his letters; his poetical works (ed. by C. B. Tinker and H. F. Lowry, 1950); his complete prose works (ed. by R. H. Super, 1960–72, 8 vol.); his notebooks (ed. by H. F. Lowry et al., 1950); biographies by E. K. Chambers (1947, repr. 1964), L. Trilling (rev. ed. 1949, repr. 1979), P. Honan (1983), M. Allot and R. H. Sugar (1987), N. Murray (1997); and I. Hamilton (1998); studies by D. G. James (1961), H. C. Duffin (1963), E. Alexander (1965), A. D. Culler (1966), G. Stange (1967), and D. Bush (1971).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Arnold, Matthew


Born Dec. 24, 1822, in Laleham, Middlesex; died Apr. 15, 1888, in Liverpool. English poet, educator, and art critic.

Arnold made his debut with such poems as “Tristram and Iseult,” “Balder Dead,” “Empedocles on Etna,” and “Sohrab and Rustum.” As a critic he wrote about the hostility of bourgeois reality to art (the collection Culture and Anarchy, 1869; the book Literature and Dogma, 1873). In his essays he contrasted the prosaic thought of the bourgeois common man to the high, educative aim of literature, which is filled with the ideas of beauty, truth, and good. Arnold was one of the first in England to recognize the greatness of L. N. Tolstoy as a realist critical of those in power (the article “Count Leo Tolstoy,” 1887). Tolstoy, in his turn, feeling that Arnold was a like-minded thinker, included excerpts of Arnold’s works in his own Circle of Reading. Arnold’s most important works are collected in the book Essays in Criticism (series 1–2, 1865, 1888).


The Complete Prose Works, vols. 1–5. Edited by Professor R. H. Super. Ann Arbor, 1960–65.
In Russian translation:
“Zadachi sovremennoi kritiki.” Vestnik Evropy, 1902, book 6.


Istoriia angliiskoi literatury, vol. 3. Moscow, 1958. Pages 33–37.
Jump, J. D. Matthew Arnold. London, 1955.
Duffln, H. C. Arnold the Poet. London, [1962].
Anderson, W. D. Matthew Arnold and the Classical Tradition. Ann Arbor, 1965.
Stange, G. R. Matthew Arnold: The Poet as Humanist. Princeton [N. J.], 1967.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
(2) Dwight Culler, Imaginative Reason: The Poetry of Matthew Arnold (New Haven, Conn.: Yale Univ.
Boynton's '"Things that are outside ourselves': Ethnology, Colonialism, and the Ontological Critique of Capitalism in Matthew Arnold's Criticism."
And here Matthew Arnold finds a model for the marriage of poetry to experience in the aftermath of profound disillusion.
Graham Moore, director of P2 Technologies, said: "We are delighted to be working with Matthew Arnold and Baldwin.
In a sense, Quart is a descendant of a tradition begun in the mid-19th century by Marx and Engels on the left and Matthew Arnold on the right, the soi-disant voice in the moral wilderness excoriating the base appetites of an emerging commercial culture.
The Barfield of Diener's study is a young intellectual wrestling not with original and final participation, polarity, logomorphism, chronological snobbery, the Residue of Unresolved Positivism (RUP), and the evolution of consciousness but with economic issues, the nature of consumption, contemporary manifestations of philosophical dualism, the future of leisure, Matthew Arnold's concept of culture, Lost Generation pessimism, industrial development, advertising, and the promise of technology.
Trilling thought he detected the same expectations in the great liberal writers of nineteenth-century Britain, such as John Stuart Mill and Matthew Arnold, with whom he began his career as a college professor and literary critic.
Dulack's two acts of sophisticated banter--garnished with references to Matthew Arnold, Buddenbrooks and Albania as "the next Cote D'Azur"--resemble a "blend of The Misanthrope and Art, with maybe some Alan Ayckbourn thrown in," in Mooy's words.
Eavan Boland spoke with real horror of Matthew Arnold's idea that poetry would substitute for religion in an age of unbelief, as if poetry were bound to behave like the Catholic Church given half a chance.
As faith receded--like the waves in Matthew Arnold's poem "Dover Beach"--society suffered what William James, in The Will to Believe, called "the sick shudder of frustrated religious demand." This demand was responsible, Wilson argues, for religion's recovery in the twentieth century.
"This far exceeded our expectations," says Matthew Arnold, senior vice president and chief operating officer of World Resources.
Set against scenes like these, in which physical assault serves as a metaphor for removing the threat posed by religious Dissent to the Victorian body politic--by the simple means of force and exclusion--the calm and civility that Matthew Arnold exhibits in his famous comments on Dissenters in Culture and Anarchy (1869) present, to say the least, a sharp contrast.