Matthew Arnold Quotes

Ah, love, let us be true To one another! for the world, which seems To 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 plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.

Life is not a having and a getting, but a being and a becoming.

Come to me in my dreams, and then By day I shall be well again! For so the night will more than pay The hopeless longings of the day.

We are here on earth to do good to others. What the others are here for, I do not know.

Journalism is literature in a hurry.

If there ever comes a time when the women of the world come together purely and simply for the benefit of mankind, it will be a force such as the world has never known.

The free thinking of one age is the common sense of the next.

But often, in the world’s most crowded streets, But often, in the din of strife, There rises an unspeakable desire After the knowledge of our buried life; A thirst to spend our fire and restless force In tracking out our true, original course; A longing to inquire Into the mystery of this heart which beats So wild, so deep in us—to know Whence our lives come and where they go.

And we forget because we must and not because we will.

Weary of myself, and sick of asking What I am, and what I ought to be, At this vessel's prow I stand, which bears me Forwards, forwards, o'er the starlit sea.

Art still has truth. Take refuge there.

Wandering between two worlds, one dead The other powerless to be born, With nowhere yet to rest my head Like these, on earth I wait forlorn.

Truth sits upon the lips of dying men.

Wandering between two worlds, one dead, The other powerless to be born.

Resolve to be thyself; and know, that he who finds himself, loses his misery.

The sea is calm tonight. The tide is full, the moon lies fair Upon the straits;- on the French coast the light Gleams and is gone; the cliffs of England stand, glimmering and vast, out in the tranquil bay.

Yes, I hate orthodox criticism. I don't mean great criticism, like that of Matthew Arnold and others, but the usual small niggling, fussy-mussy criticism, which thinks it can improve people by telling them where they are wrong, and results only in putting them in straitjackets of hesitancy and self-consciousness, and weazening all vision and bravery. ...I hate it because of all the potentially shining, gentle, gifted people of all ages, that it snuffs out every year. It is a murderer of talent. And because the most modest and sensitive people are the most talented, having the most imagination and sympathy, these are the very first ones to get killed off. It is the brutal egotists that survive.

Is it so small a thing To have enjoy'd the sun, To have liv'd light in the spring, To have lov'd, to have thought, to have done; To have advanc'd true friends, and beat down baffling foes...?

Is it so small a thing To have enjoy’d the sun, To have lived light in the spring, To have loved, to have thought, to have done; To have advanc’d true friends, and beat down baffling foes; That we must feign a bliss Of doubtful future date, And, while we dream on this, Lose all our present state, And relegate to worlds yet distant our repose?

To see the object as in itself it really is

Culture is the endeavour to know the best and to make this knowledge prevail for the good of all humankind.

Choose equality.

To have the sense of creative activity is the great happiness and the great proof of being alive.

And we forget because we must

And each day brings it's pretty dust, Our soon-choked souls to fll And we forget because we must, And not because we will.

Alas, is even Love too weak to unlock the heart and let it speak? Are even lovers powerless to reveal To one another what indeed they feel?

Culture, the acquainting ourselves with the best that has been known and said in the world, and thus with the history of the human spirit.

And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night.

The Sea of Faith Was once, too, at the full, and round earth's shore Lay like the folds of a bright girdle furled. But now I only hear Its melancholy, long, withdrawing roar, Retreating, to the breath Of the night-wind, down the vast edges drear And naked shingles of the world.

If ever there comes a time when the women of the world come together purely and simply for the benefit of mankind, it will be a force such as the world has never known. MATTHEW ARNOLD, NINETEENTH-CENTURY BRITISH POET AND PHILOSOPHER

I believed that ‘freedom’ is not a clear or sufficient answer to the question of what conservatives believe in. Like Matthew Arnold, I held that ‘freedom is a very good horse to ride, but to ride somewhere’.

For rigorous teachers seized my youth, And purged its faith, and trimm'd its fire, Show'd me the high, white star of Truth, There bade me gaze, and there aspire. Even now their whispers pierce the gloom: What dost thou in this living tomb?

The sterner self of the Populace likes bawling, hustling, and smashing; the lighter self, beer.

Nature is cruel; it's man whose is sick of blood– and man doesn't seem so very sick of it...

The strongest part of a religion today is its unconscious poetry

Ah, fish, there is no fare Quite like a flounder! They surely will not miss A piece or two from stacks of sole like this; I'll steal a few, but leave the lion's share. Look! the lamplight on the lane is pretty They're back from walking out on Dover Beach. I think I'll hide and spare myselpf the speech, For we are in a world untouched by pity Where ignorant humans curse the kitty." (From Dover Sole)

Up the still, glistening beaches, Up the creeks we will hie, Over banks of bright seaweed The ebb-tide leaves dry. We will gaze, from the sand-hills, At the white, sleeping town; At the church on the hill-side— And then come back down. Singing: "There dwells a loved one, But cruel is she! She left lonely for ever The kings of the sea. (from poem 'The Forsaken Merman')

She had been feeling that things were pretty desperate if one found oneself talking about and almost quoting Matthew Arnold to comparative strangers, though anything was better than having to pretend you had winter and summer curtains when you had just curtains.

We mortal millions live alone.

Only--but this is rare-- When a beloved hand is laid in ours, When, jaded with the rush and glare Of the interminable hours, Our eyes can in another's eyes read clear, When our world-deafen'd ear Is by the tones of a loved voice caress'd-- A bolt is shot back somewhere in our breast, And a lost pulse of feeling stirs again. The eye sinks inward, and the heart lies plain, And what we mean, we say, and what we would, we know. A man becomes aware of his life's flow, And hears its winding murmur; and he sees The meadows where it glides, the sun, the breeze.

Matthew Arnold was a fastidious social critic and hence an accomplished complainer. When he died, an acquaintance said: "Poor Matt, he's going to Heaven, no doubt – but he won't like God.

For me, life is continuously being hungry. The meaning of life is not simply to exist, to survive, but to move ahead, to go up, to achieve, to conquer. — ARNOLD SCHWARZENEGGER

The fewer there are who follow the way to perfection, the harder that way is to find.

Come to me in my dreams, and then By day I shall be well again. For then the night will more than pay The hopeless longing of the day.

The word 'God' is used in most cases as by no means a term of science or exact knowledge, but a term of poetry and eloquence, a term thrown out, so to speak, as a not fully grasped object of the speaker's consciousness — a literary term, in short; and mankind mean different things by it as their consciousness differs.

THE THOUGHTS that rain their steady glow Like stars on life’s cold sea, Which others know, or say they know — They never shone for me.   Thoughts light, like gleams, my spirit’s sky,   5 But they will not remain. They light me once, they hurry by, And never come again.

Nor is it merely that we can discern in Christ that close union of personality with perfection which forms the real distinction between the classical and romantic movement in life, but the very basis of his nature was the same as that of the nature of the artist - an intense and flamelike imagination. He realised in the entire sphere of human relations that imaginative sympathy which in the sphere of Art is the sole secret of creation. He understood the leprosy of the leper, the darkness of the blind, the fierce misery of those who live for pleasure, the strange poverty of the rich. Someone wrote to me in trouble, 'When you are not on your pedestal you are not interesting.' How remote was the writer from what Matthew Arnold calls 'the Secret of Jesus.' Either would have taught him that whatever happens to another happens to oneself, and if you want an inscription to read at dawn and at night-time, and for pleasure or for pain, write up on the walls of your house in letters for the sun to gild and the moon to silver, 'Whatever happens to oneself happens to another.

I need coffee to deal with this, and I’m not getting decaf.

Ah, love, let us be true To one another!

He who would love his fellow man Must not expect too much of him.

The circumambient gloom But hides, if Gods, Gods careless of our doom. - Mycerinus

Everyone likes flattery,' he told the poet Matthew Arnold, 'And when you come to royalty, you should lay it on with a trowel.

A problem is only insoluble to the sufferer; to others, it may have a comic or exasperating simplicity. It occurred to me that at this juncture I had become locked in, like one of my wretched patients for whom the moment for an easy solution has passed. I couldn’t go forward in my life – whatever remained of it – until I had a better understanding of what was past. This was the ‘hard work’ that as a young therapist I had glibly recommended to my patients; but for me it seemed better to turn to the old standbys: denial, sensual pleasure or a change of subject – to Newton, or Matthew Arnold.

Authors as diverse as Matthew Arnold and George Orwell have given thought to the serious question: what is to be done about morals and ethics now that religion has so much decayed? Arnold went almost as far as to propose that the study of literature replace the study of religion. I must say that I slightly dread the effect that this might have had on literary pursuit, but as a source of ethical reflection and as a mirror in which to see our human dilemmas reflected, the literary tradition is infinitely superior to the childish parables and morality tales, let alone the sanguinary and sectarian admonitions, of the “holy” books.

Humid the air! Leafless, yet soft as spring. The tender purple spray on copse and briers! And that sweet city with her dreaming spires, she needs not June for beauty's heightening. Lovely all the time she lies...

The sea is calm tonight. The tide is full, the moon lies fair Upon the straits--on the French coast the light Gleams 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 spray Where the sea meets the moon-blanched land, Listen! you hear the grating roar Of pebbles which the waves draw back, and fling, At their return, up the high strand . . .

The whole scope of the essay is to recommend culture as the great help out of our present difficulties; culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world, and, through this knowledge, turning a stream of fresh and free thought upon our stock notions and habits, which we now follow staunchly but mechanically, vainly imagining that there is a virtue in following them staunchly which makes up for the mischief of following them mechanically. This, and this alone, is the scope of the following essay.

TEN GREATEST ENGLISH POETS Chaucer, Spenser, Shakespeare, Milton, Burns, Wordsworth, Keats, Shelley, Tennyson, Browning. TEN GREATEST ENGLISH ESSAYISTS Bacon, Addison, Steele, Macaulay, Lamb, Jeffrey, De Quincey, Carlyle, Thackeray and Matthew Arnold.

For what can give a finer example of that frankness and manly self- confidence which our great public schools, and none of them so much as Eton, are supposed to inspire, of that buoyant ease in holding up one's head, speaking out what is in one's mind, and flinging off all sheepishness and awkwardness, than to see an Eton assistant-master offering in fact himself as evidence that to combine boarding-house- keeping with teaching is a good thing, and his brother as evidence that to train and race little boys for competitive examinations is a good thing?

And you, ye stars, Who slowly begin to marshal, As of old, the fields of heaven, Your distant, melancholy lines! Have you, too, survived yourselves? Are you, too, what I fear to become? You, too, once lived; You, too, moved joyfully Among august companions, In an older world, peopled by Gods, In a mightier order, The radiant, rejoicing, intelligent Sons of Heaven. But now, ye kindle Your lonely, cold-shining lights, Unwilling lingerers In the heavenly wilderness, For a younger, ignoble world; And renew, by necessity, Night after night your courses, In echoing, unneared silence, Above a race you know not— Uncaring and undelighted, Without friend and without home; Weary like us, though not Weary with our weariness.

It looks as if the Romances and such Ballads were in the Middle Ages, as they have remained ever since, truancies, refreshments, things that can live only on the margin of the mind, things whose very charm depends on their not being ‘of the centre’ (a locality which Matthew Arnold possibly overvalued).

No, thou art come too late, Empedocles! And the world hath the day, and must break thee, Not thou the world. With men thou canst not live, Their thoughts, their ways, their wishes, are not thine; And being lonely thou art miserable, For something has impair'd they spirit's strength, And dried its self-sufficing font of joy.

Certainly, many of history’s great minds not only understood Stoicism for what it truly is, they sought it out: George Washington, Walt Whitman, Frederick the Great, Eugène Delacroix, Adam Smith, Immanuel Kant, Thomas Jefferson, Matthew Arnold, Ambrose Bierce, Theodore Roosevelt, William Alexander Percy, Ralph Waldo Emerson.

The man who to untimely death is doomed Vainly would hedge him in from the assault of harm; He bears the seed of ruin in himself.

I am bound by my own definition of criticism: a disinterested endeavour to learn and propagate the best that is known and thought in the world.

Let me go back for a moment to Bishop Wilson, who says:−−'First, never go against the best light you have; secondly, take care that your light be not darkness.

begin, and cease, and then again begin

Resolve to be thyself; and know that he who finds himself, loses his misery.

Nor does the being hungry prove that we have bread.

Venid a mí en mis sueños, y luego durante el día estaré bien otra vez. Porque entonces la noche más que pagará el anhelo desesperado del día.

Society may be imagined so uniform that one education shall be suitable for all its members; we have not a society of that kind, nor has any European country.

Yes: in the sea of life enisl'd, With echoing straits between us thrown, Dotting the shoreless watery wild, We mortal millions live alone.

all

Culture is the most resolute enemy of anarchy, because of the great hopes and designs for the State which culture teaches us to nourish.

We should conceive of poetry worthily, and more highly than it has been the custom to conceive of it. We should conceive of it as capable of higher uses, and called to higher destinies, than those which in general men have assigned to it hitherto. More and more mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us.

One has often wondered whether upon the whole earth there is anything so unintelligent, so unapt to perceive how the world is really going, as an ordinary young Englishman of our upper class

Culture . . . seeks to do away with classes; to make the best that has been thought and known in the world current everywhere; to make all men live in an atmosphere of sweetness and light...

Neither are the humanistic scholars and artists of any great help these days. They used to be, and were supposed to be, as a group, carriers of and teachers of the eternal verities and the higher life. The goal of humanistic studies was defined as the perception and knowledge of the good, the beautiful, and the true. Such studies were expected to refine the discrimination between what is excellent and what is not (excellence generally being understood to be the true, the good, and the beautiful). They were supposed to inspire the student to the better life, to the higher life, to goodness and virtue. What was truly valuable, Matthew Arnold said, was 'the acquainting ourselves with the best that has been known and said in the world.' [...] No, it is quite clear from our experience of the last fifty years or so that the pre-1914 certainties of the humanists, of the artists, of the dramatists and poets, of the philosophers, of the critics, and of those who are generally inner-directed have given way to a chaos of relativism. No one of these people now knows how and what to choose, nor does he know how to defend and validate his choice.

Mrs. Humphry Ward. She was a woman of the very highest character, a niece of Mr. Matthew Arnold, and whatever you might think of the book itself (and she, Mrs. Encombe, was quite willing to admit that there were parts which had better have been omitted) it was quite certain that she had written it from the very highest motives. Mrs. Encombe knew Miss Broughton too. She was of very good family and it was strange that she wrote the books she did.

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

Screen'd is this nook o'er the high, half-reap'd field, And here till sundown, Shepherd, will I be. Through the thick corn the scarlet poppies peep, And round green roots and yellowing stalks I see Pale blue convolvulus in tendrils creep: And air-swept lindens yield Their scent, and rustle down their perfumed showers Of bloom on the bent grass where I am laid, And bower me from the August sun with shade; And the eye travels down to Oxford's towers...

And they see, for a moment, Stretching out, like the desert In its weary, unprofitable length, Their faded ignoble lives. While the locks are yet brown on thy head, While the soul still looks through thine eyes, While the heart still pours The mantling blood to thy cheek, Sink, O Youth, in thy soul! Yearn to the greatness of Nature! Rally the good in the depths of thyself.

Hebraism and Hellenism,−−between these two points of influence moves our world. At one time it feels more powerfully the attraction of one of them, at another time of the other; and it ought to be, though it never is, evenly and happily balanced between them. The final aim of both Hellenism and Hebraism, as of all great spiritual disciplines, is no doubt the same: man's perfection or salvation.

The ancient triumph of Christianity proved to be the single greatest cultural transformation our world has ever seen. Without it the entire history of Late Antiquity would not have happened as it did. We would never have had the Middle Ages, the Reformation, the Renaissance, or modernity as we know it. There could never have been a Matthew Arnold. Or any of the Victorian poets. Or any of the other authors of our canon: no Milton, no Shakespeare, no Chaucer. We would have had none of our revered artists: Michelangelo, Leonardo da Vinci, or Rembrandt. And none of our brilliant composers: Mozart, Handel, or Bach. To be sure, we would have had other Miltons, Michelangelos, and Mozarts in their places, and it is impossible to know whether these would have been better or worse. But they would have been incalculably different.

Reading Mrs Gaskell's Life of Charlotte Brontë after Jane Eyre is a curious experience. The subject of the biography is recognisably the same person who wrote the novel, but the effect of the two books is utterly different. The biography is indeed depressing and painful reading. It captures better, I believe, than any any subsequent biography the introverted and puritan pessimist side of Charlotte Brontë, and conveys the real dreariness of the world of privation, critical discouragement and limited opportunity that so often made her complain in her letters that she felt marked out for suffering. Jane Eyre, on the other hand, is exhilarating reading, partly because the reader, far from simply pitying the heroine, is struck by her resilience, and partly because the novel achieves such an imaginative transmutation of the drab. Unlike that of Jane Austen's Fanny Price or Dickens's Arthur Clennam or John Harmon, Jane Eyre's response to suffering is never less than energetic. The reader is torn between exasperation at the way she mistakes her resentments and prejudices for fair moral judgements, and admiration at the way she fights back. Matthew Arnold, seeking 'sweetness and light' was repelled by the 'hunger, rebellion and rage' that he identified as the keynotes of the novel. One can see why, and yet feel that these have a more positive effect than his phrase allows. The heroine is trying to hold on to her sense of self in a world that gives it little encouragement, and the novel does put up a persuasive case for her arrogance and pugnacity as the healthier alternatives to patience and resignation. That the book has created a world in which the golden mean seems such a feeble solution is both its eccentricity and its strength.

In our political system everybody is comforted. Our guides and governors who have to be elected by the influence of the Barbarians, and who depend on their favour, sing the praises of the Barbarians, and say all the smooth things that can be said of them. With Mr. Tennyson, they celebrate 'the great broad−shouldered genial Englishman,' with his 'sense of duty,' his 'reverence for the laws,' and his 'patient force,' who saves us from the 'revolts, republics, revolutions, most no graver than a schoolboy's barring out,' which upset other and less broad−shouldered nations. Our guides who are chosen by the Philistines and who have to look to their favour, tell the Philistines how 'all the world knows that the great middle class of this country supplies the mind, the will, and the power requisite for all the great and good things that have to be done,' and congratulate them on their 'earnest good sense, which penetrates through sophisms, ignores commonplaces, and gives to conventional illusions their true value.' Our guides who look to the favour of the Populace, tell them that 'theirs are the brightest powers of sympathy, and the readiest powers of action.

The first break in the case came on day six. A college student named Beatrice Arnold called the FBI hotline to report she’d sold Suzanne Lombard snacks at the gas station where she worked in Breezewood, Pennsylvania. “The Breezewood tape caused a seismic shift in the investigation and completely scrambled the assumptions of law enforcement. Suzanne Lombard hadn’t been snatched; she had run away. She had somehow traveled three hundred fifty miles from the Virginia shore to the Pennsylvania line without drawing attention to herself. From the surveillance tape, three unassailable facts emerged: First, Suzanne was actively trying to conceal her identity. Second, she was waiting for someone. And third, in Suzanne’s mind at least, that someone was a friend.

When most people use the word ‘freedom’ nowadays, they use it in the sense of the French Revolutionaries: freedom from tradition, from established social institutions, from religious doctrines, from prescriptive duties. I think that this employment of the word does much mischief. For we do not live in an age—and there are such ages—which is oppressed by the dead weight of archaic establishments and obsolete custom. The danger in our era, rather, is that the fountains of the great deep will be broken up and that the pace of alteration will be so rapid that generation cannot link with generation. Our era, necessarily, is what Matthew Arnold called an epoch of concentration. Or, at least, the thinking American needs to turn his talents to concentration, the buttressing and reconstruction of our moral and social heritage. This is a time not for anarchic freedom, but for ordered freedom. There are much older and stronger concepts of freedom than that espoused by the French Revolutionaries. In the Christian tradition, freedom is submission to the will of God. This is no paradox. As he that would save his life must lose it, so the man who desires true freedom must recognize a providential order which gives all freedoms their sanction. The theory of ‘natural rights’ depends upon the premise of an on alterable human nature bestowed upon man by God. Only acceptance of the divine order can give enduring freedom to a society; for this lacking, there is no reason why the strong and the clever, the dominant majority or the successful oligarch, should respect the liberties of anyone else. Freedom without the theory of natural rights becomes simply the freedom of those who hold power to do as they like with the lives of those whose interests conflict with theirs.

The aspects of society that humanism most exalts are justice and continuity. That is why humanism is always being presented with a contradiction. For when it speaks of justice it holds that the human condition is absolute; yet when it speaks of continuity it implies that society is not absolute but pragmatic and even anomalous. Its intelligence dictates the removal of all that is anomalous; yet its ideal of social continuity is validated by its perception that the effort to destroy anomaly out of hand will probably bring new and even worse anomalies, the nature of man being what it is. "Let justice be done though the heavens fall" is balanced by awareness of the likelihood that after the heavens have fallen justice will not ever be done again. Hence the humanistic belief, often delusive, that society can change itself gradually by taking thought and revising sensibility. Hence too the humanistic valuation, possibly overvaluation, of discourse and letters.

Now, the use of culture is that it helps us, by means of its spiritual standard of perfection, to regard wealth as but machinery, and not only to say as a matter of words that we regard wealth as but machinery, but really to perceive and feel that it is so. If it were not for this purging effect wrought upon our minds by culture, the whole world, the future as well as the present, would inevitably belong to the Philistines. The people who believe most that our greatness and welfare are proved by our being very rich, and who most give their lives and thoughts to becoming rich, are just the very people whom we call Philistines. Culture says: 'Consider these people, then, their way of life, their habits, their manners, the very tones of their voice; look at them attentively; observe the literature they read, the things which give them pleasure, the words which come forth out of their mouths, the thoughts which make the furniture of their minds; would any amount of wealth be worth having with the condition that one was to become just like these people by having it?

November 22   |   Matthew 21:33–44 In a parable, Jesus tells the story of a landowner who plants a vineyard, leases it to tenants, and then goes to another country. After a time, he sends servants to the vineyard to collect the fruit. Rather than give the master his profit, the tenants beat one servant, stone another, and kill a third. In response, the landowner sends more servants, only to see the same thing happen to them. Finally, thinking surely they will respect his son, the landowner sends his heir to the vineyard. Believing they will be able to keep the vineyard for themselves, the tenants kill the son. At that point, Jesus asks the Pharisees what the landowner will do in this situation. The Pharisees say what we would all say; they suggest doing what we would all want to do: “He will put those wretches to a miserable death” (v. 41 ESV). In other words, he’s going to turn that place into an Arnold Schwarzenegger movie: no survivors. You see, the Pharisees, like us, are tuned in to the law. They’re thinking in terms of an eye for an eye and a tooth for a tooth. They can’t see Jesus’s underlying point: they’re the tenants. Jesus quotes them Psalm 118, saying that the stone the builders rejected has become the chief cornerstone. The son sent to the vineyard was rejected by the tenants … but that’s not the end of our story. Jesus says that anyone who comes into contact with this stone will be broken. All of our efforts, whether aimed at rebellion or at righteousness, will cease. The chief cornerstone will break us. There’s one important difference between the heir in the parable and Jesus. Jesus didn’t stay dead! And because Jesus was raised to new life and has given that new life to us, we can leave all our striving behind.

The great works of culture have it in their power to clear mental confusion, they give us words for things we had felt but had not previously grasped; they replace cliché with insight.

Except to the most avid seekers of wisdom, Stoicism is either unknown or misunderstood. Indeed, it would be hard to find a word dealt a greater injustice at the hands of the English language than “Stoic.” To the average person, this vibrant, action-oriented, and paradigm-shifting way of living has become shorthand for “emotionlessness.” Given the fact that the mere mention of philosophy makes most nervous or bored, “Stoic philosophy” on the surface sounds like the last thing anyone would want to learn about, let alone urgently need in the course of daily life. What a sad fate for a philosophy that even one of its occasional critics, Arthur Schopenhauer, would describe as “the highest point to which man can attain by the mere use of his faculty of reason.” Our goal with this book is to restore Stoicism to its rightful place as a tool in the pursuit of self-mastery, perseverance, and wisdom: something one uses to live a great life, rather than some esoteric field of academic inquiry. Certainly, many of history’s great minds not only understood Stoicism for what it truly is, they sought it out: George Washington, Walt Whitman, Frederick the Great, Eugène Delacroix, Adam Smith, Immanuel Kant, Thomas Jefferson, Matthew Arnold, Ambrose Bierce, Theodore Roosevelt, William Alexander Percy, Ralph Waldo Emerson. Each read, studied, quoted, or admired the Stoics.

A volte penso che abbiamo fatto un grande giro per tornare a calpestare le vecchie orme. Siamo ancora sotto l'ombra dell'albero di Matthew Arnold, a contemplare i pinnacoli di Oxford, con attorno la quieta campagna inglese. Campi e campanili. Com'è conciliante e ordinata questa natura. Popolata da creature innocue e laboriose, regolare e placida come l'Oxfordshire. - indicò i pascoli. - Siegfried l'ha capito, sai. E' per questo che apprezza le mie poesie e le pubblica sul giornale. E' l'orrore che si scorge in trasparenza. Non c'è bisogno d'essere modernisti per vedere i crateri delle bombe in mezzo ai prati. - Ma non possiamo scrivere della guerra per sempre. - ribatté Robert. - Io vorrei che Nancy illustrasse i miei versi. Voglio scrivere per Jenny. C'è qualcosa davanti a noi, il resto della vita, la famiglia, i figli. Si trattenne. Chiese scusa. Ed parve non farci caso. - Siamo come talpe. - mormorò. - Abbiamo scavato il nostro buco su questa collina e sbirciamo fuori, chiedendoci cosa ci sia laggiù. Laggiù c'è ancora la guerra. Ci sono i mostri. Facciamo finta di non saperlo, ma ci stringono d'assedio.

Well, their piety is more evolved,” said Mrs. Pace. “In America we have only two forms, as Matthew Arnold said: the bitter and the smug. In France, it appears, there is a third type, the worldly.

Resolve to be thyself: and know that he who finds himself, loses his misery. Matthew Arnold

Therefore, when we speak of ourselves as divided into Barbarians, Philistines, and Populace, we must be understood always to imply that within each of these classes there are a certain number of aliens, if we may so call them,−−persons who are mainly led, not by their class spirit, but by a general humane spirit, by the love of human perfection

Harsh things are said too, no doubt, against all the great classes of the community; but these things so evidently come from a hostile class, and are so manifestly dictated by the passions and prepossessions of a hostile class, and not by right reason, that they make no serious impression on those at whom they are launched, but slide easily off their minds. For instance, when the Reform League orators inveigh against our cruel and bloated aristocracy, these invectives so evidently show the passions and point of view of the Populace, that they do not sink into the minds of those at whom they are addressed, or awaken any thought or self−examination in them. Again, when our aristocratical baronet describes the Philistines and the Populace as influenced with a kind of hideous mania for emasculating the aristocracy, that reproach so clearly comes from the wrath and excited imagination of the Barbarians, that it does not much set the Philistines and the Populace thinking. Or when Mr. Lowe calls the Populace drunken and venal, he so evidently calls them this in an agony of apprehension for his Philistine or middle−class Parliament, which has done so many great and heroic works, and is now threatened with mixture and debasement, that the Populace do not lay his words seriously to heart.

Sometimes religion fails to serve its meaning-making function at moments of catastrophic disruption or cultural change. For example, many elite and middle class Christian adherents were shaken by a Victorian spiritual crisis as intellectual challenges converged. Between 1840 and 1900 some lost faith in the face of Darwinian biology and the new geology, which challenged biblical claims about the origin and age of the universe; the new historical and literary study of the Bible, called Higher Criticism, which challenged the claim that scripture was divinely inspired; and the new comparative study of religions, which challenged the uniqueness and superiority of Christianity. Those doubters now looked out on a different ocean, as does the narrator in Matthew Arnold's poem "Dover Beach," who once found comfort as waves in "the sea of faith" drew near, but who now hears only "its melancholy, long, withdrawing roar.

And we forget because we must And not because we will Matthew Arnold, ‘Absence’ (1852)