Comparing Arnold’s Dover Beach to Hecht’s Dover Bitch Essay

Much as it is a numbers of vivid images translated into feelings of melancholia and uber sentimentality, capital of Delaware strand has been touted as unitary of Matthew Arnolds most admired poems. It was probably composed in the summer of 1851 and subsequently revised for the volume of unexampled Poems in 1867 (Baum, 1958, p. 85). The poem basks in the feelings of self-conflict, loneliness, a restnation and inexplicable emotions set during the victorian times.The poem consists of four sections or stanzas the setting (1-14) Sophocles, or the Greek check (15-20) the sea at capital of Delaware and the sea of Faith, or the par exclusivelyel all-embracing (21-28) and the personal appeal (29-37). At the start of the poem, considerers could visualize a gay standing at the edge of capital of Delaware Beach, feeling down and out. His footmark is some what indifferent and philosophical about vivifications iniquities. He then revealed that in that respect is a woman with him, whi ch he refers to as sack out.And, it then concludes with a pessimistic lamentation relative to the possibility of clement happiness in a time bereft of faith for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath rightfully neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain Anthony Hechts Dover Bitch (1968) claimed notoriety in parodying the uber romantic machinations of the male persona in Dover Beach. Hecht flat acknowledged Arnold in his poem and begins with these linesSo on that point stood Matthew Arnold and this girl With the cliffs of England crumbling away behind them, And he said to her, Try to be true to me, And Ill do the like for you, for things are bad every last(predicate) over, etc. Noteworthy is that Hecht frankly assumes Arnold to be the verbaliser and his companion to be a woman, but he does not go on to conjecture that Matthew Arnold was telling her not to worry and to leave it all to him he was to the full aware that things are bad/All over for everybody, not retributory for the two of them.There doesnt seem to be any tracing in Dover Bitch that Matthew is going to do this girls worrying about the world as well as his own. Nor is there any such suggestion in Dover Beach the utterers point is that they are both, and indeed we are all, in the same boat he is as helpless as his plugger, whatever the friends sex. Gender seems here to be about as tangential as it can ever be. Whatever the appearances to the contrary, the world Hath sincerely neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain.Nearly everyone assumes that Dover Beach was written with Mrs. Arnold in mind. If one assumes further that the picture of Dover Beach in the synodic month Come to the window -represents the stop of Arnold and his wife at Dover on their wedding journey in June 1851, there would be corroboration in the later lines the world which seems To lie before us . . . So various, so beautiful, so new, there would be additional poignancy in the appeal let us be true To one another(prenominal)(prenominal) in spite of all its hostile forces mentioned in the poem.In fact, Duffin (1962) illustrated that Dover Beach provides a lovely picture of married love the poet, expression out on the calm, moonlit straits, speaks over his shoulder to his wife. In his way, the poet interprets for her the become of the waves upon the beach, hearing the eternal note of sadness and comparing it with the ebbing of the Sea of Faith. He lets the mood oppress him, making him see purport as a loveless, joyless confusion of struggle and flight, with but one refugeAh, love, let us be true/ To one another (p. 75). On the other hand, Hecht assumed that the girl was some sort of a high-class prostituteWell now, I knew this girl. Its true she had read Sophocles in a fairly good translation And caught that bitter allusion to the sea, barely all the time h e was talking she had in mind The impulse of what his whiskers would feel like On the back of her neck. To put one across as been brought All the way down from capital of the United Kingdom, and then be addressed As a sort of mournful cosmic last resort Is really tough on a girl, and she was pretty. Hecht translated Arnolds romanticism and helplessness to be viewed by another person who exhibits anarchic individualism, who viewed the iniquities of the woman rather than the feeling.Hecht even deconstructed the poetry form of Dover Beach as he wrote the poem that has a casual tone, something that is spoken as a gossip in a tavern or bar. Readers could even probably assume that the speaker is a bartender. When the presence of the universal becomes more important than its structure, value comes to house more in intensity than in the meaning of actions, more in the fact of participation with the forces of process than in the results achieved by action and participations approval of them. Clearly, Hecht took advantage of Arnolds aloofness to the girl at the starting stanzas.The womans presence is only recognized at the end of Arnolds poem, crafted in such a way readers should look about the whole picture about what the remainder of the story really is. Hechts speaker in Dover Bitch could only give his eyeballs about the uselessness of the heart-rending oration to a woman is who is not all interested in the entire romantic conflagration. The speaker feels that this woman more concerned with her own tangible pleasures than the speakers bleak view of life. Both poems are exquisite in their own way. Arnolds poem was romantic and Hechts was allergic romantic.Arnold created this scene at the Dover Beach and Hecht just criticized the speaker in the poem to stop the mournful cosmic last resort idea to view and start to view lifes realities in a different perspective. It somewhat a poetic way of saying that Life is a bitch, I know. Deal with it Clearly, recitation these poems, readers could tell the significance of what point-of-view means when to ascertain what thoughts of the people could be in a story. Works Cited Baum, Paull F. Ten Studies in the Poetry of Matthew Arnold. Durham, NC Duke University Press, 1958. Duffin, Henry Charles. Arnold the Poet. London Bowes & Bowes, 1962.