Dover Beach

by Matthew Arnold · 1867 · Czas czytania: 1 min · Liczba wersów: 37

W skrócie

“Dover Beach” by Matthew Arnold is a poem about a peaceful seaside scene that leads to thoughts of suffering, fading faith, and the need for love. At first, the speaker watches moonlight on the straits, a disappearing light on the French coast, and England’s pale cliffs. He invites a companion to listen as waves drag and throw pebbles along the shore. Their harsh rhythm brings sadness and recalls Sophocles hearing human misery in another sea. The speaker then imagines faith as a once-full sea now retreating from the world. Finally, he asks his beloved for mutual faithfulness. The beautiful world seems unable to offer lasting comfort, and the poem ends with armies fighting in darkness and confusion.

The sea is calm to-night.The tide is full, the moon lies fairUpon the straits;—on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanch’d land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in.

Sophocles long agoHeard it on the Ægæan, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea.

The Sea of FaithWas once, too, at the full, and round earth’s shoreLay like the folds of a bright girdle furl’d.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world.

Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night.

Co to znaczy, wers po wersie

Wersy od 1 do 14: The opening presents a calm, moonlit coast, with distant lights and large English cliffs. The speaker invites someone to the window, shifting attention from what they see to what they hear. Waves scrape pebbles back and forth in a repeating rhythm. That rough sound unsettles the peaceful view and introduces a sadness that seems lasting.

Wersy od 15 do 20: The speaker imagines Sophocles hearing a similar sound beside the Aegean Sea and connecting it with human suffering. This comparison links different places and times through the same movement of water. The sea becomes more than scenery: its restless motion offers a way to think about the repeated troubles of human life.

Wersy od 21 do 28: Faith becomes an imagined sea that once surrounded the earth like a bright, protective band. The speaker now hears that sea withdrawing, leaving bare shores behind. The change from fullness to retreat suggests a loss of shared belief and reassurance. Wind, distance, and exposed stones make that loss feel lonely and physical.

Wersy od 29 do 37: The speaker turns directly to his beloved and asks for faithfulness between them. He contrasts the world’s attractive appearance with his belief that it offers no dependable comfort or certainty. The final image replaces the calm coast with a dark battlefield, where confused armies fight without understanding. Personal loyalty becomes his response to this uncertainty.

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Trzy pytania do przemyślenia

How does the sound of the pebbles change the mood established by the opening view?
What does the image of a retreating sea suggest about the speaker’s understanding of faith?
How does the final battlefield image affect your understanding of the speaker’s appeal to his beloved?

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200 000+ klasycznych książek. Każdy format, na początek za darmo.

E-booki, audiobooki i 15-minutowe streszczenia oraz każda książka w cenie kosztów druku, także w dużym druku.

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