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Dr. Wickens
English 351
We can see that much of Matthew Arnold’s poetry contains the imagery of a
journey. Stefan Collini suggests that this is a three-stage journey “represented by a river,
which rises in a cool, dark glade, flows out on to the fierce, hot plain, and then finds its
way to the wide calm sea” (54). The first stage is that of childhood and is represented by
romantic descriptions of nature and an overall feeling of happiness. This stage can be
referred to as ‘The Forest Glade’. The second stage describes a period of suffering,
brought on by the loss of religion, and the trials that are placed upon the individual by a
progress-minded Victorian society. This stage can be referred to as ‘The Burning Plain’.
The third stage, referred to as ‘The Wide Glimmering Sea’, is that of final transcendence.
We have surpassed the innocence of childhood and the turmoil of the social life to reach
that final happiness of general fulfillment; it is obvious that this is Arnold’s ultimate goal,
. Arnold’s ‘Forest Glade’ region clearly refers to his youth, and the Romantic era.
This was a time of extreme happiness for Arnold; a time when he could truly feel and
understand the beauty of nature as represented by Wordsworth and the other Romantics.
This was also a time when Arnold and the majority of society still believed in God and
religion, and it is this belief which allowed that profound joy of nature which was still
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seen as a spiritual realm. This is because scientists had not yet shown nature to be ‘red in
tooth and claw’, simply fighting for resources and struggling for its own existence, as
does mankind. This makes the ‘Forest Glade’ a very special place for Arnold, one that he
This truth to which Arnold was exposed served to remove him from his youth and
his ‘Forest Glade’, forcing him to recognize that his youthful view of the ‘Forest Glade’
was innocent and naïve. This naïve innocence is portrayed most clearly by the character
of Callicles in “Empedocles on Etna”. In this poem Callicles is a young harp player and a
former student of the hero, Empedocles. Throughout the poem, Callicles’ thoughts are
introduced to us while thinking about the beauty of his natural surroundings which, to
him, still represent Wordsworth’s healing power, as we perceive when he asks, “What
mortal could be sick or sorry here?” (1.1. 20). We receive further suggestion of Callicles’
innocence through his description of “the sun / [which] is shining on the brilliant
mountain crests, / And on the highest pines; but farther down, / Here in the valley, is in
shade” (1.1. 9-12). Arnold has taken this imagery from Plato’s Allegory of the Den,
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Scene II begins with Pausanias requesting to know the secret that Empedocles
used in raising Pantheia from the dead so that he may better ward off the “swelling evil of
this time” (1.1. 113), which is brought “when the Gods / Visit us as they do with sign and
plague” (1.2. 23-4). Hearing this request, Empedocles realizes that Pausanias has been
infected by the Sophists, and he must teach him how to live correctly. This
taught Achilles to explore the upper regions of the mountains, or the ‘Burning Plain’:
Like the Centaur, Empedocles tells Pausanias about the ‘mortal wars’ of their time by
lecturing upon the problems of their society and suggesting means of overcoming those
problems in order to find contentment. Empedocles complains that men too easily follow
the throng because they fear to know the truth. They develop easy religions and false
gods, which they can blame for their unhappiness. Empedocles claims that men believe
the world was designed for their pleasure, and with their happiness in mind. They do not
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realize that “the world does not exist that welfare to bestow” (1.2. 176), and this taints all
their thinking. Believing that the scientific study of nature will allow happiness, men
become so busy in “observ[ing] a world so vast” and “sort[ing] what’s here amassed”
(1.2. 213-15), that they don’t even care to think upon how best to live. And when they
finally realize that they cannot possibly comprehend all of nature, they feel their
Sure only that your mind sees all things which befall. (1.2. 342-6)
We can clearly see that this lecture is Arnold’s attempt at numbering the problems of
Victorian society. He berates society for creating facile religions and sterile religious
atmospheres. Like the sophist who “sneers: Fool, take / Thy pleasure, right or wrong”
(1.2. 132-3), the religious Victorian allows no dissent, as that would create some doubt
for himself, which would destroy his fragile belief. Arnold also displays the Victorian
desire for scientific progress, and shows us how these questions have replaced the really
Yet, through Empedocles, Arnold does tell us how best to live. He praises the
man who, “In his own bosom delves, / And asks what ails him so, and gets what cure he
can” (1.2. 131-2). He will realize that we are part of nature, and must fit in as such. He
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will realize that, “Harsh Gods and hostile Fates / Are dreams! This only is- / Is
everywhere; sustains the wise, the foolish elf” (1.2. 304-6). Yet even accepting the world
as it is cannot be enough, for even still, “The ill deeds of other men make often our life
dark” (1.2. 266). This forces Arnold to promote a certain detachment. We see in
Resignation that to cross over this ‘Burning Plain’, man must “subdue that energy to scan
/ Not his own course, but that of man” (146-7). He would contribute to society, but not
become engaged within it; he would feel the pride of man’s accomplishments, but from a
distance. And though he is alone, he would not feel so because he understands “that
general life, which does not cease, / Whose secret is not joy, but peace” (191-2). And
yet, we must refer to the man that ‘would’, because Arnold has not provided any
found peace. At the beginning of Act II, Empedocles is alone, and he feels it. He has
just heard a beautiful song from Callicles, another myth, about Cadmus and Harmonia,
and it seems to suggest an end to the pain and questions of the ‘Burning Plain’, by a
removal, back to nature and the ‘Forest Glade’. Yet it seems that this song has actually
created more pain than it temporarily assuaged, because Empedocles knows that he
cannot return to the ‘Forest Glade’. He simply knows too much, and cannot ignore the
questions and answers that he has found. Like the children in “Stanzas from the Grand
Chartreuse”, it seems that Empedocles’ “bent was taken long ago” (298). Because
Empedocles places so much emphasis upon recognizing false religions, it seems that he
once believed in a true religion. Since this religion has been dispelled he is left,
“wandering between two worlds, one dead, / The other powerless to be born” (Stanzas,
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85-6). We see that society rots Empedocles’ soul by imparting false religions, but he
cannot gain spiritual strength from isolation in nature because nature is no longer God’s
benevolent gift to man. Instead he must search himself, trying to create a new world with
a new understanding of spirit and soul, which only leads to inward looking
intellectualism.
describing the myth of Typho, who cannot hear the beauty of the lyre because he is too
busy thinking about his defeat by Zeus. This song suggests that Empedocles might again
find joy and strength by abandoning his intellectual questioning and begining to write
brave, impetuous heart yields everywhere / To the subtle, contriving head” (2.1. 90-1), he
redirects this criticism and places it upon society where men deny their need for spiritual
With his criticism and in his letters, Arnold has debased the Romantics for their
inward-looking poetry, and he places a large emphasis on the need for an outward-
so. Though he has crossed the ‘Burning Plain’ Empedocles remains alone upon the
mountaintop, rather than having reached the ‘Wide Glimmering Sea’. This is because he
still looks within and is thus blind to the beauty of life. He looks to nature and sees
beauty, but feels the loss of spirituality. He looks to man and sees progress, but feels the
abandonment of ideals. Empedocles’ soul dwells within the sphere of mind, because the
era forces it to reject both man and nature. Realizing that the mind will never allow
peace, he jumps into the volcano before he becomes entirely dominated by thought. This
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way, the mind will be enmeshed with the flesh that will then return to the elements,
It is important to note that the last words of this poem are given to Callicles, who
Empedocles has followed the river out of the ‘Forest Glade’ and across the ‘Burning
Plain’, but he has ended on a mountaintop and not at the ‘Wide Glimmering Sea’. The
barren crag of solitude that is Mt. Etna will never provide joy, or poetic inspiration, but
only introspection and gloom. Callicles’ last lines show the proper path of Arnolds’
river. It begins in youth with religious conviction, then recognizes the loss of God and
Arnold’s journey through life has been clearly presented by Empedocles, and we
have used that poem to explore each region. We have seen how Callicles represents the
‘Forest Glade’, and we understand that Empedocles teaches Pausanias how to cross the
‘Burning Plain’. Yet, we are left with Callicles to explain the ‘Wide Glimmering Sea’,
and we must wonder why. Is it because one can only reach the sea of understanding and
joy as a youth? This seems to be the case in “Resignation”. Yet, we might consider
Callicles’ songs, which are decidedly outward-looking. Enamoured with natural beauty,
and intrigued by classical myths, Callicles is happy. Though his songs display Romantic
Thus, we can argue that Callicles represents a new generation of poet, one who is
affected by the Romantic’s love for nature but not by the Victorian’s longing for the past.
This allows the new generation to take a disinterested view of both nature and society and
see what is there, rather than what is not, and it is only by doing this that one may
actually attain the happiness of general fulfillment that Arnold’s philosophy promises.
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Works Cited
Arnold, Matthew. “Empedocles on Etna”. Victorian Poetry and Poetics. Ed. Walter E.
Arnold, Matthew. “Resignation”. Victorian Poetry and Poetics. Ed. Walter E. Houghton
Arnold, Matthew. “Stanzas from the Grand Chartreuse”. Victorian Poetry and Poetics.