Cover

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Title Page, Copyright Page

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Rationale

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pp. vii-xi

The last truly important critical book devoted to Matthew Arnold’s poetry was David Riede’s Matthew Arnold and the Betrayal of Language, published at the centenary of Arnold’s death.1 Some twenty years later, we might well wonder at the relative critical neglect endured by this icon of Victorian literature and culture during these two...

Contents

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p. xiii

Acknowledgments

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pp. xv-xvi

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1. Revolution and Medievalism

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pp. 1-28

Matthew Arnold’s most famous poem, “Dover Beach” (composed ca. 1851),1 concludes with his speaker looking away from the chalk cliffs of England toward continental Europe and lamenting that...

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2. Keats and Spasmodicism

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pp. 29-71

Arnold is, one could argue, the most pervasively intertextual of Victorian poets. Not only does he allude repeatedly to precursors through verbal, thematic, and formal echoes in his poems but also, unlike most canonical poets of the nineteenth century, he names such influential figures openly.

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3. Poetesses

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pp. 72-100

Matthew Arnold’s notorious misogyny, especially during the period of his greatest poetic productivity (1847–53), is perhaps most visible in his now-familiar letter of September 29, 1848, to Clough, as he explains his boredom (at last) with Pierre-Jean de Béranger’s works and compares it with a “feeling with regard to (I hate the word) women. ...

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4. Gypsies

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pp. 101-128

In 1881, Matthew Arnold could, remarkably, still identify with Byron as a poet-gypsy, an outcast wandering Europe and writing verses in futile rebellion against the values and behavior of the social class that had produced him. But if Arnold’s image of Byron as a revolutionary on the ideological margins (“this passionate and dauntless soldier of a forlorn hope”) is not entirely...

Notes

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pp. 129-142

Works Cited

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pp. 143-148

Index

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pp. 149-152