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

Much as it is a poem of shiny images translated into feelings of melancholia and uber sentimentality, capital of Delaware border has been touted as atomic number 53 of Matthew Arnolds most esteem poems. It was probably composed in the summer of 1851 and subsequently revised for the muckle of New Poems in 1867 (Baum, 1958, p. 85). The poem basks in the feelings of self-conflict, l bingleliness, alienation and inexplicable emotions case-hardened during the Victorian times.The poem consists of four sections or stanzas the setting (1-14) Sophocles, or the classic gibe (15-20) the sea at capital of Delaware and the Sea of Faith, or the parallel extended (21-28) and the mental imagel appeal (29-37). At the start of the poem, readers could visualize a man standing at the edge of Dover Beach, feeling gloomy and out. His tone is some what indifferent and philosophical about lifes iniquities. He then revealed that there is a woman with him, which he refers to as go to bed.And, it th en concludes with a pessimistic lamentation relative to the happening of human happiness in a time bereft of credit for the world, which resonatems To lie before us like a land of dreams, So various, so beautiful, so new, Hath unfeignedly neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain Anthony Hechts Dover Bitch (1968) claimed nonoriety in parodying the uber romantic machinations of the male persona in Dover Beach. Hecht even acknowledged Arnold in his poem and begins with these linesSo there stood Matthew Arnold and this lady friend With the cliffs of England crumbling a expressive style behind them, And he said to her, turn out to be dead on target to me, And Ill do the same for you, for things are wild All over, etc. Noteworthy is that Hecht frankly studys Arnold to be the speaker and his go with to be a woman, barely he does not go on to suppose that Matthew Arnold was telling her not to worry and to leave it all to him he was fully awa re that things are bad/All over for everybody, not just for the two of them.There doesnt seem to be whatever suggestion 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 speakers point is that they are both, and indeed we are all, in the same boat he is as helpless as his friend, whatever the friends sex. Gender seems here to be about as irrelevant as it can ever be. Whatever the appearances to the contrary, the world Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain.Nearly everyone assumes that Dover Beach was pen with Mrs. Arnold in judging. If one assumes further that the picture of Dover Beach in the moonlight Come to the window -represents the stop of Arnold and his wife at Dover on their wedding journey in June 1851, there would be certificate 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 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, looking out on the calm, moonlit straits, speaks over his shoulder to his wife. In his way, the poet interprets for her the sound of the waves upon the beach, hearing the eternal note of sadness and comparing it with the ebb down of the Sea of Faith. He lets the mood oppress him, making him see life 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 variant of a high-class prostituteWell now, I knew this girl. Its true she had read Sophocles in a fairly good translation And caught that erosive allusion to the sea, But all the time he was talking she had in mind The notion of what his whiskers would feel l ike On the back of her distinguish. To have been brought All the way down from London, and then be address As a sort of abject cosmic last lag Is really tough on a girl, and she was pretty. Hecht translated Arnolds romanticism and impuissance to be officeed by another person who exhibits anarchic individualism, who viewed the iniquities of the woman kinda 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 call down in a tavern or bar. Readers could even probably assume that the speaker is a bartender. When the presence of the universal becomes more(prenominal) important than its structure, evaluate comes to reside more in intensity than in the meaning of action at laws, more in the fact of participation with the forces of process than in the results achieved by action and societys approval of them. Clearly, Hecht took advantage of Arnolds aloofness to the girl at the starting st anzas.The womans presence is exactly know at the end of Arnolds poem, crafted in such a way readers should think about the whole picture about what the remainder of the story really is. Hechts speaker in Dover Bitch could only roll 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 destitute 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. palm with it Clearly, reading these poems, readers could tell the significance of what point-of-view means when to as certain 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, atomic number 1 Charles. Arnold the Poet. London Bowes & Bowes, 1962.