Matthew Arnold’s “Culture and Anarchy”

A part of introductions to literary studies, including the atomic number 53 provided by Nnning , concentrate on what Collini (2000)2 c onlys the B littleed Trinity of literary studies poem, drama and novel. According to Collini, this view dominated the Anglo-Ameri endure literary study from the 1930s to at least the ahead of time 1970s. He states to a lower place this regime, the recalcitrant mixed-mode texts of the niminy-piminy actist and moralists did not fargon rise..Nevertheless, non-fictional types of texts are the virtually common in everyday life. Were would humanity be without news reports, manuals, hypertexts, and all the communication channeling pieces of non-fictional prose which are, according to Collini a well limitless category?It is the the most florid category, and the category most written in. Writers are mostly engaged in non-fictional prose. There are millions of daybookists and scientists today not to speak of all the bureaucrats in the administrat ions of nearly every enterprise or giving medication, who write trillions of letters, reports and turn overations every day. Non-fictional prose is cost more attention.This paper is concerned with a piece of non-fictional prose. flori refinement and disintegration by Matthew Arnold. In order to deliver a able analysis, at that place pull up stakes be a chapter on the author first, to get an postage stamp of how to understand the utterances. This includes a brief summary of the most important texts that were publish by Matthew Arnold before Culture and outlawry. Afterwards, there will be a chapter on text types, to clarify which category of text the work belongs to. At last, there will be the analysis of, as an application of the guess from the chapter before, with respect to the current scientific state of interpretation of Culture and tumult.1. Matthew Arnold BenchmarksMatthew Arnold lived from 1822 to 1888. He was an elementary-school-inspector from 1851-86. He wrote poems until he was thirty3 . The most popular one is DoverNnning, Vera. An introduction to the study of English and Ameri weed literature. Barcelona et al. Klett, 2007Collini, Stefan. From Non-Fiction Prose to Cultural Criticism musical elbow room and Disciplinarity in Victorian Studies. pp. 13-28. John, Juliet (ed. and introd.) Jenkins, Alice (ed. and introd.) and Sutherland, John (foreword) Rethinking Victorian Culture. Basingstoke, England Macmillan, 2000. xvi, 244 pp Oxford Dictionary of National Biography, p 488Beach, where he pictured the struggling of his generation with religion and progress and finds a relief in love as a reliable fix- arrest in life. His poems became so popular, that he was elected the (foremost honorary) post of Professor of Poetry at Oxford University, where he was obliged to hold public lectures three times a year. He was the first unordained holder of the post and spoke English sooner of Latin.In 1861 he held a lecture on translating homer, that was print as a book tardyr. E.K. Brown (258) detects a dogmatic element in that canvass, when Arnold asserts, that homer is the most important poetical monument existing and prophesies that he will be read more and more in the future. In the comparable year, 1861, Arnold published The Popular Education in France, on his own expense. In the Introduction he makes an ominous statement about society as a whole, that was later republished under the title Democracy.The next publication in book-form was Essays on Criticism5 , where he developed a method called disinterestedness (dis- = not, inter- = between, esse= to be). It was not considered to be very helpful by scientists. Chhibbar6 states that it was fragmented, chaotic, and uncentered. (164), but Caufield7 suggests, that the lack of consistency was even off by a habit of keeping in touch with the cover and a gift for implicit definition.Arnold expound himself as a mere solitary wanderer in oceanrch of the vague, who speaks an artless, unstudied, every-day, long-familiar language. (ibid., footnote 2). Having said this, his method can as easy be called empirical and inductive. Arnold too pleaded that the mere application of principles was tauto reasonable systemal, could not provide a sense of creative activity. (38) and that it would sincerely take a mountain of logic to build a machine but the idea to build a machine came from intuition (ix).The subsequent book, Culture and Anarchy, was continuing in the customs duty of Essays in Criticism, insofar as it was primarily a collection of essays published in a magazine before. According to Collini (1993, 276), Arnold was involved in an just about continuous series of overlapping Brown, A.K. The Strategy of Disinterestedness. pp 251-262. Weber, Horst (ed.) Der Englische Essay. Darmstadt, 1975.Arnold, Matthew Essays on Criticism.Chhibbar, Sudershan. Victorian perspectives on democracy a study of selected literary documents 1832 1867, Dissertation, 1980 Caufield, James W. Most let go from Personality Arnolds Touchs stairs of Ethics, Cambridge Quarterly (2009) 38 (4) 307-327. Collini, Stefan. Arnold. pp. 195-326.Thomas, Keith (ed.) Victorian Thinkers. ago Masters. Oxford, 1993. vii, 428 pp.controversies, which started around the time of Democracy.Arnold retrieved from social criticism, when three of his children died in a shortsighted sequence of time. He started to focus on religion and got a lot of appreciation for that. Later, he declined becoming professor at Oxford again, as well as becoming Director of a University.According to the Oxford Companion of English literature Arnold was the leading critic of his time. His contemporaries must arrest way had a different view. According to Caufield , Arnold had been a cast out until the endof the second world war. He was seen as a frivolous swell, logical light-weight, stupid weakling, in re joint chatter or intellectual dandy (237), whose airy dogmatism was ambitious, feeble a nd perverse (244), and could only serve to move young ladies or old women (243).His style was deemed as an approximately womanly concreteness of mind that rarely rose above the simplistic level of anecdotal narrative (242). According to Caufield, Arnold reproduced the Utilitarian versus Romantic polarity and concludes that Arnold appears to be jut out of late Romanticism, whose contemporaries claimed that his arguments lacked the logical and moral toughness demanded by the disciplines of political economy and felicific calculus (cf. Bentham). . The Oxford Dictionary of National Biography confirms that In much of Arnolds poetry one sees the disconsolate Romantic toilsome to turn himself into the resolute stoic. (489).2. How to Analyse an Essay2.2 Patterns of OrganisationMiller distinguishes 6 patterns of organisation for the information in an essay illustration, comparison & contrast, definition, division and mixture, process, and causative analysis. Illustration means free o vertake examples. Comparisons and contrasts are utilise to make things clearer, show the positive side of something or to find a familiar principle. A definition is the explanation of vague and ambiguous wrangle.A stately definition puts the term in a general material body and then differentiates it from the other members of that class. An extended definition is used to apologise an uncommon term which is new or abstract. A Differentiation is present what is not part of the definition. A division is the separation into groups, and a classification is the placement of units into these groups. A process is a sequence of actions and operations, which has no focus on the story. A causal analysis consist of necessary, contributive and sufficient causes.2.3 Dierent Types of EssaysThere are different kinds of distinctions possible to differentiate between sure types of essays. On the level of topic, the author can use the a narration, description, rendering or argumentation. On th e level of style, there are more or less imposing essays to distinguish.2.3.1 Narration, Description, Exposition, ArgumentationMiller (168 n.) explains that the narration has a clear time sequence, can use conferences and a varying dit of view, whereas a description is a sensory diction (ibid.). It can ether stay detached from the narration, be (objective/ featureual) or include personal feelings and opinions of the narrator (subjective/personal). An exposition is the explainSvaglic, Martin J. Hellenic Rhetoric and Victorian Prose. pp 230-250. Weber, Horst (ed.) Der Englische Essay, Darmstadt, 1975. Nation of informations and/or ideas, and an argumentation proposes (366) of a point of view.In this view Culture and Anarchy clearly is an argumentation.2.3.2 The Informal, Formal and occasional EssayFreiburg15 distinguishes three types (Muster) of essays which developed successively in history the folksy essay, the formal essay and the diurnal essay. The archetype of essay was inv ented by Michel de Montaigne. He thought that the writer had to be able to unfold his thoughts without constrains. Form, topic and stylistic devices were kept open. Thematically, reading often was the starting point of de Montaignes thoughts, which were explicated, quasi(prenominal) live, in his essays. So they have hardly a complex body part, are rhetorical and associative.According to Mace-Tessler Bacon called himself an imitator of de Montaigne(15), but he shifted the focus from personal doubt (ibid.) to social and philosophical topics. According to Freiburg, the essays of Bacon had a clear intention and signal group, and were written in tradition of the Speculum Magistratis. Therefore, the tone was kept rational and Bacon underlined his educatedness or cited other authorities to be accepted as an advisor.The rational tone was achieved by the use of definitions and a dialectical logic. The stylistic devices used were comparisons, parables and metaphors. They served for illustr ation. To balmy the memorisation of theconclusions, aphorisms and maxims were employed.The aim of the formal essay is the transmission of lessons. The periodical essay was invented by people kindred Daniel Defoe in the beginning of the newspaper. It was dominant in the Victorian and fin-de-sicle period. There was an increasing readership, achieved by the cheapness of periodicals and there was a growth in reading public because of elementary education and the overall growth of the middle-class.Mace-Tessler adds, that the periodical essay is considered as one aspect in the development of journalism. Freiburg describes it as a mixed form of informal and formal essay. The essays where published in magazines and journals. Topics were taken from everyday life in the impudently established middle class. They were read silently at the breakfast table, or aloud at the coffee-house. There was a high variety of generic winedevices letters, reports, poems and even fictional narrations are being subsumed under this category. The Moonstone by Wilkie collins is one example. It was published in All the year round, a periodical owned by Charles Dickens.The focus of the periodical essay lie less on what was said, than on how it was said. There was a shift aside from subject-matter, towards an examination of the authors attitude towards a subject. The result was an almost conspirational and familiarly (cf. Mace-Tessler) tone. The periodical essay had to have a certain predictability because the journal or magazine had to be sold. However, a variety of structures, styles and essay types were required to sustain the readers interest and attention.This variety had to follow some predictable patterns. In general, there was a tendency toimitate what has been before which formed the style of the periodical essay (Mace-Tessler, 11). Drescher (228 n.) makes an over-all distinction between free essay, formal essay and mix-form essay.This coincides with to Freiburgs informal, forma l and periodical distinction. Drescher states, standardized suggested by Mace-Tessler, that the style of the periodical essay was foremost coined by the magazine which published it.He analysed 221 periodical essays in two Irish fin-de-sicle-magazines (The Mirror and The Lounger) and he omitted the use of a sort by topic, tone or style in favour of tetrad basic structures.The additive, running(a), discursive and implicit in(p) structure. The additive structure is characterised by the fact that the parts of the text are not interrelated. They dont number on each other and have different topics. In the linear structure, each part of the essay relates at one time to the other, as well as to the topic, but there is no interrelation between the texts. The discursive structure has a progressive arrangement of the single texts.The episodes have a causal relation, each text leads to the other and each unit references to the topic. In an integral structure, the parts of the particular essay develop their own structure, and the sense-level stays directly connected to the topic. Mace-Tessler distinguishes rhetorical, simple, unified, associated, unrelated and incomplete essays in his analysis of the periodicals The Tatler and The Spectator.3. Analysis3.1 Type of EssayCulture and Anarchy was written as a rhetorical essay, published first in the periodical Cornhill Magazine over a period of almost a year. The Introduction was written at last and the particular chapters argument on a different basis of information because they were written in different periods. According to Chhibbar, there had been profound changes and tensions (197) at the time of the accruement of Culture and Anarchy. According to Altick17 , all but the first part, bouquet and straighten out, were written as reaction to the critiques. The structure of the whole text must be called linear, in the terminology of Drescher.3.2 Diegetic LevelAs seen above, Arnold was publishing from different perspecti ves. Campbell18 states that the movement between the roles of school inspector, government official (as an expert), Oxford Professor of Poetry, critic and polemical journalist required the appointment in the style and content. This shifting between different voices was especially present in the critical writing that used satire, imitation and parody to cave the views of formed personages. He sometimes even used a foreigners point of view to criticize his countrymen. Campbell suggests to read his criticism more homogeneous fiction.3.3 rhetorical ModeBecause periodical essays were read aloud in the coffee houses authors often make use of rhetorical elements. According to Svaglic (234), the Rhetoric by Aristotle had long been a basic text of the litterae humaniores program at Oxford. Thus it must have been known by Matthew Arnold. Brown even calls him a practised speechifier (259). Svaglic describes the three modes of rhetoric by Aristotle, who distinguished between the deliberati ve/hortatory, the rhetorical/judicial mode, and the epideictic/ceremonial mode.The deliberative/hortatory mode is the persuasion of view-points, the forensic/judicial mode is concerned with guilt and innocence, and the epideictic/ceremonial mode is used for the praise of great men and deeds. Brown states that all great Victorian prose writers were practising every mode of rhetoric at one time or another, but the most popular was the deliberative/hortatory mode (233).Arnold announces that he is a man without a philosophy (94) and speaks of a simple disorganised way which best suits both my taste and my powers (5), and continuous We having no coherent philosophy, must not let ourselves philosophise. (Arnold, Culture and Anarchy, 201). This plain-dealing (Altick, 82) enables him to anatomise the failures of the middle class by being a representative man (ibid.) of it.3.4 intention of IronyAccording to Altick, the irony of Culture and Anarchy often lies in the fact that the professe d respect is proforma and misdirected, or, what starts as epideictic rhetoric is negated by deflationary techniques (128). Due to the fact that Culture and Anarchy was written in pieces (linear structure), the use of stunning is ambiguous. Wilhem von Humboldt is described as one of the most beautiful and perfect souls (140), which is supposed to be actually meant that way, for example. just now on the other hand, there is, what Altick (132) calls ironic praise the touching and beautiful words (61) of the fanatical anti-Catholic Mr. Murphy saying I will choose out my lectures if they walk over my body as a d.o.a. corpse, which is definitely neither touching nor beautiful.Interesting is one of the most equivocal words in Arnolds argumentative vocabulary. For example, the bang speakers (74), he heard during the Reform Debates in the House of Commons. One is later described as perfection, the other as excess. Excess is not interesting. Another example is this very interesting oper ation (223), for the attempt to legitimize the marriage of a man with his deceased wifes sister. It was contraband in Britain, but how often does such a case take on? There were much more important problems to be solved at that time at least from Arnolds point of view. The absurdity of this interesting operation is emphasised in the aftermath of the text by repetition.3.5 Use of RepetitionsThe phrase deceased wifes sister gets repeated guild times in Culture and Anarchy. This rhetorical method of Arnold attempts to humiliate the opponent. This is as well acknowledged by Collini, who states by mercilessly repeating the least clever phrasesover and over again, he drowns his opponent in a sea of comic associations. (216).Sometimes repetition only serves in substitution for a sufficient vocabulary, like in solid thought, real beautiy real sweetness and real light. (49) or to show similarities like the half-sized, half-fed half-clothed children without health, without home, with out hope (245). This similarities all hint to one point the lack of a sufficient policy. As a polemical journalist (vid. infr. Campbell), Arnold tries to persuade (deliberative rhetoric). One big part of this early type of propaganda is the attempt for coinage by excessive repetition of newly defined terms.3.6 Denitions, Comparisons and ContrastsCulture is the best which has been thought and said in the world (ix). This is thereby nearly equal to religion. Religion says The kingdom of God is within you and culture, in a like manner places human perfection in an cozy condition, distinguished from animality. (13). An attribute of culture is right reason as well as best self . The really blessed thing is to like what right reason ordains (68).But for us, who believe in right reason, in the duty and possibility of extricating and elevating our best self, in the progress of humanity towards perfection, we underpin them in repressing anarchy and disorder because without order there can be no society, and without society there can be no human perfection.The chasm of without and society serves the rhetorical effect. Anarchy is more or less defined as doing as one likes. The natural instinct of the common man towards liberty is thereby degenerated into an anarchical tendency (59), caused by liberty. This doing as one likes is juxtaposed with sweetness and light (differentiation).According to the Oxford English Dictionary19 Sweetness and Light is a quotation from Jonathan Swift and means the noblest characteristics of humanity. His definition of sweetness and light is juxtaposed with fire and strength, his own coinage, repeated twelve times. Sweetness and light are right reason, best self and culture but sometimes this must be protected by the forces of fire and strength. State is defined as the nation in itscollective and corporate character(66). This is based on the best self and becomes the issue right reason (93). Culture and Anarchy is full of juxtaposit ions.According to Miller, Signalling words for comparisons and contrast are are in contrast (1 time), on the other hand(14 times),on the contrary (3 times) and however(28 times) or transition words like likewise (3 times), similarly (2 times similar) and in a like manner (manner 21 times). On the level of content, the most unadorned contrasts are between the bad examples like the liberals Roebuck and Bright, the Alderman of London and Mr. Murphy as well as the writers of the Times, the Saturday Review and the Daily Telegraph, who are compared with the with the good examples of Bishop Wilson, Duke capital of New Zealand and St. Augustine.3.7 DialoguesAs mentioned above by Freiburg, its not uncommon to use a dialogue in an essay. The following one can be found in the introduction to Culture and Anarchy where Arnold reports his conversation with a Nonconformist I said, that seemed a pity. A pity? cried he not at all (xxxiv)3.8 MetaphorsOne can always find thousands of metaphors in every text. But the poetic language of the late Romanticist Arnold, used on a nearly Utilitarian topic makes a very picturesque use of metaphors. Arnold describes himself as delivered from the Bondage of Bentham (46), to implicates that he has liberated himself from a philosophy which holds the enemies of culture captive. (Altick, 124).4. ConclusionThis paper has shown that non-fictional prose needs to be investigated by literary studies. It has shown the importance of the essay in the Victorian and fin-de-sicle period in his parallelism to the development of the periodicals and with it the journalism. This might give a hint for the future, on how to analyse hypertexts like bloggs, which can also be read as more or less formal essays.Culture and Anarchy is an example of polemical rhetoric. It was written by a poet of late Romanticism and is thus not well-structured, but very effective. In the words of Caufield (325) Arnold the poet knows that stained glass and plainsong will soone r quicken paddy wagon than scholastic disquisitions and cosmological proofs.