However, line 3 breaks the pattern and forces the reader to break his or her own rhythm. The rhythm recovers by the end of the first stanza, but the original rhythm has not. In other words, by the use of a pattern in the rhythm and the lack of a pattern in the number of feet per line and the rhyme scheme, Arnold portrays an outwardly rhythmic and flowing poem with underlying confusion and trouble.
The second stanza attempts to regain a pattern but the pattern disappears in line 7 only to reappear in line 8. The last important extended image closes the poem; it is a very common practice for Arnold to supply such closing, summarizing images in an attempt to say metaphorically what he perhaps cannot express directly.
The auditory qualities of lines set the tone for the rest of the poem. After stanza two, the third, fourth, and fifth stanzas alternate sounds stanza three, first three lines of stanza four, last five lines of stanza four and stanza five.
The reality of his lack of faith becomes apparent in lines 25 through The fourth line breaks up even farther at the beginning, but the fifth line recovers the rhythm. These images, emphasizing the condition after faith has left, present a void, an emptiness, almost creating a shudder in the reader; it is perhaps a more horrifying image than even the battlefield image with which the poem closes.
All combined, the allusion is made to the idea of a small, moving light. The poem makes clear that one is not viewing this battlefield as from a distance; one is in the middle of the fight. The calm of the opening lines is deceptive, a dream. This is a foreshadow of the disorder to come.
The number of feet per line constantly increases from three to four and then to five, once again, a foreshadow of the upcoming struggle. The deliberately plain opening, a common poetic practice in Arnold, emphasizes nouns and verbs and their emotional impact.
Sophocles can hear the Aegean Sea, but cannot see it. The emotional struggle of the speaker is supported by the rhythm and the meter, the lack of a consistent rhyme scheme, the figures of speech, the sound of the words, and the irony of the entire poem.
Underneath or behind is the reality of life—a confused struggle, no light, nothing to distinguish good from evil, friend from foe; it is the result of the thought suggested by the sound of the surf. The speaker explains on how that once great and calm sea of faith has turned into a roaring, dark, windy, dreary, and gravely bench.
The second line also reveals a calm sea. A vivid description of the calm sea in the first eight lines allows a picture of the sea to unfold. This opposes the pattern of the iambic rhyme of the first stanza.
The actual words of the first line manifest this idea to picture a calm sea gently lapping at the beach. The first fourteen lines may well also suggest a sonnet, since this gives certain appearances that it is a love poem. Arnold reinforces the impact of these images with an often subtle but evocative use of sound and syntax.
The first image mixes sight and sound and occupies the entire first section of the poem. The poet begins with a broad general view from the horizon, coming closer to that which is in the forefront of his view, the sea meeting the moon-blanched land, whence comes the disturbing sound.
The grating and roaring pebbles produce sound while the calm sea and glimmering French coast produce a visual effect.
The individual words add up—melancholy, withdrawing, retreating, vast, drear, naked—re-creating the melancholy sound of the sea withdrawing, leaving behind only a barren and rocky shore, dreary and empty.
How to cite this page Choose cite format: The line begins and ends with an iamb, but the middle is broken up. Multiple lines do rhyme, but in no set pattern. The pattern of iambs continues through the stanza, but the number of feet per line never projects a pattern.
The second dominant image in the poem is in lines 25 through 28, expressing the emotional impact of the loss of faith. The deceptive calm of the opening lines is undercut by the grating surf on the beach.
The poem makes no particular attempt to follow the clipped, elliptical, semi-conversational style of the more realistic monologues of Robert Browning, but rather presents a more meditative poem, dominated by three extended images that not only carry the meaning of the poem but also provide much of the emotional and imaginative impact.
There is a sense of sympathy.“Dover Beach” is a dramatic monologue of thirty-seven lines, divided into four unequal sections or “paragraphs” of fourteen, six, eight, and nine lines. In the title, “Beach” is more. Dover Beach Theme Imagery and Sound Words | 6 Pages. In "Dover Beach," Matthew Arnold creates a monologue that shows how perceptions can be misleading.
Arnold’s “Dover Beach” applies technical qualities, symbolism, and imagery to reveal the theme of illusion versus reality. The emotional struggle of the speaker is supported by the rhythm and the meter, the lack of a consistent rhyme scheme, the figures of speech, the.
The sea is everywhere in "Dover Beach." It shows up in different places and in different forms, but we feel its power all over the place. Sometimes it's a physical location, something you can actua.
Essay on Dover Beach: An Analysis and Imagery of "Dover Beach" In "Dover Beach," Matthew Arnold creates a dramatic monologue of the Victorian Era that shows how perceptions can be misleading. Arnold conveys the theme of "Dover Beach" through three essential developments: the technical qualities of the poem itself, symbolism, and imagery.
An evocative poem analysis focusing on the imagery in Dover Beach. Insightful and intriguing.Download