Arnold Project
As a poet Arnold is generally admitted to rank among the Victorians next after Tennyson and Browning. The criticism, partly true, that he was not designed by Nature to be a poet but made himself one by hard work rests on his intensely, and at the outset coldly, intellectual and moral temperament. He himself, in modified Puritan spirit, defined poetry as a criticism of life; his mind was philosophic; and in his own verse, inspired by Greek poetry, by Goethe and Wordsworth, he realized his definition. In his work, therefore, delicate melody and sensuous beauty were at first much less conspicuous than a high moral sense, though after the first the elements of external beauty greatly developed, often to the finest effect. In form and spirit his poetry is one of the very best later reflections of that of Greece, dominated by thought, dignified, and polished with the utmost care. 'Sohrab and Rustum,' his most ambitious and greatest single poem, is a very close and admirable imitation of 'The Iliad.' Yet, as the almost intolerable pathos of 'Sohrab and Rustum' witnesses, Arnold is not by any means deficient, any more than the Greek poets were, in emotion. He affords, in fact, a striking example of classical form and spirit united with the deep, self-conscious, meditative feeling of modern Romanticism.
In substance Arnold's poetry is the expression of his long and tragic spiritual struggle. To him religion, understood as a reverent devotion to Divine things, was the most important element in life, and his love of pure truth was absolute; but he held that modern knowledge had entirely disproved the whole dogmatic and doctrinal scheme of historic Christianity and that a new spiritual revelation was necessary. To his Romantic nature, however, mere knowledge and mere modern science, which their followers were so confidently exalting, appeared by no means adequate to the purpose; rather they seemed to him largely futile, because they did not stimulate the emotions and so
In substance Arnold's poetry is the expression of his long and tragic spiritual struggle. To him religion, understood as a reverent devotion to Divine things, was the most important element in life, and his love of pure truth was absolute; but he held that modern knowledge had entirely disproved the whole dogmatic and doctrinal scheme of historic Christianity and that a new spiritual revelation was necessary. To his Romantic nature, however, mere knowledge and mere modern science, which their followers were so confidently exalting, appeared by no means adequate to the purpose; rather they seemed to him largely futile, because they did not stimulate the emotions and so