'Dover Beach Theme Imagery and Sound Essay\r'

'In â€Å"capital of Delaware coast,” Matthew Arnold creates a monologue that shows how perceptions can be misleading. The subject of error versus populace in â€Å"Dover brim” reflects the verbalizer’s awareness of the incompatibility mingled with what is perceived and what truly is real. Arnold conveys the stem turn of â€Å"Dover Beach” through three essential developments. First, he uses opthalmic datery. Second, he uses sound (aural) meetry. Third, he uses cycles/second method of birth control and metric. These chemical mechanism alone do non explain wherefore partiality and reality differ, just now they do service to explain how Arnold sort outs up the poem to detain the theme.\r\nThe strongest support of the theme comes from its intense resourcefulness which is scattered throughout â€Å"Dover Beach.” The most affecting image is the ocean. The ocean includes the optical imagery, used to express illusion, as strong as t he auditive imagery, used to express reality. The image is intensely drawn by Arnold to vividly disclose the organized religion disappearing from the talker’s manhood. The image of trace encompasses the speaker unit’s life completely worry the night wind pushes the clouds in to reassign a bright, calm sea into dark, â€Å"naked shingles.” The chaff of â€Å"Dover Beach” lies in the contrasting elements of the affect speaker and the calm sea with tranquil moon informal. For example, the dreamy cliffs of the low stanza appear again in the contestations â€Å"for the world/Which lies before us give care a region of dreams.\r\nThe sea which begins calm and tranquil, becomes a roaring down; with â€Å"naked shingles” and â€Å"night-wind” which in turn disrupts the speaker’s cartel. The symbolism of the speaker’s faith, as well as firing and dark, reinforce the theme of illusion versus reality. The illusionary q uality of the sea infers how in truth shaky and insecure the speaker’s faith has become. In occupation 21, the speaker refers to the sea as a metaphoric â€Å"sea of faith.” This symbol represents the illusion of the speaker’s faith. The reality of his neglect of faith becomes apparent in word of mouths 25 through 28.\r\nThe speaker explains on how that once great and calm sea of faith has turned into a roaring, dark, windy, dreary, and gravely bench. In reality, the speaker’s faith disappears with all sin to replace it; a powerful symbol of disillusion which sets the mood for the rest of the poem. In stanza 3, the simile â€Å"like the folds of a bright girdle furled” (Line 13) contrasts with â€Å" broad edges drear/And naked shingles of the world” (Lines 27-28)\r\nThe speaker’s problem also appears in the sounds of the linguistic communication throughout the poem. The consonant quality of the g and the r in â€Å"grating ro ar” ( position 9) takes on an auditory quality, whereas the previous stanza displayed opthalmic qualities. The grating and roaring pebbles start sound while the calm sea and glimmer French coast produce a visual effect. In line 13, the row â€Å"tremulous measurement slow” slows the ratifier with the sounds of the t, c, and s sounds. After stanza two, the triplet, quadrupletth, and one-fifth stanzas alternate sounds (stanza three, first three lines of stanza four, last v lines of stanza four and stanza five). The smooth sounds of l in line 7, â€Å"long line,” and the f in line 23, â€Å"folds” and â€Å"furled,” organise out the instances of illusion where the conflict of the illusion versus reality does not exist. In contrast, the rough sounds in line 28, â€Å"naked shingles of the world,” indicate the places where reality not only exists, just where illusion cannot exist, and the speaker cannot overleap his misery.\r\nThe sou nds of the terminology not only slow the speaker’s press, but also suggest the cardinal motif of light and dark. The words â€Å"glimmer” and â€Å"gleam.” The ‘gl’ suggests light whereas the ‘ea’ suggest smallness. The ‘er’ suggests movement. All combined, the allusion is made to the desire of a small, moving light. This contrasts with the lousiness of the later stanzas indicated by the words â€Å"darkling” and â€Å"night.” In the third stanza, the words â€Å"faith” and â€Å"bright” followed by â€Å"but” hint a loss of faith, â€Å"and in doing so associates darkness with loss of faith”. The lack of a convention in the verse line scheme reflects the speaker’s inner debate. The rime scheme of the first stanza consists of ABACD. The first and third lines rhyme, â€Å"to-night” and light,” but no other lines rhyme in the first stanza. The same instanc e occurs in the second stanza’s rhyme scheme of BDCEFCGHG. octuple lines do rhyme, but in no set pattern. This opposes the pattern of the iambic rhyme of the first stanza. A vivid description of the calm sea in the first eight lines allows a portray of the sea to unfold. The next six lines really stand out, peculiarly the words â€Å"Listen,” â€Å"grating roar,” and â€Å"eternal note of sadness.”\r\nThe property between the sight and sound imagery continues into the third stanza. Sophocles can hear the Aegean Sea, but cannot discern it. He hears the purposelessness â€Å"of human misery,” but cannot settle it because of the â€Å"turbid ebb and flow” of the sea. The allusion of Sophocles and the past is replaced by the auditory image, â€Å"But now I only hear/ Its melancholy, long, withdrawing roar/ Retreating to the breath/ Of the night-wind, down the wide edges drear/ And naked shingles of the world” (Lines 24-28). thither is a sense of sympathy. The words â€Å"tremulous cadency slow” and â€Å"eternal note of sadness” evokes a sense pity for the speaker whose struggle with illusion and reality seems to end in darkness and sadness.\r\n non only will the speaker have to acquaint reality, but â€Å"beyond the ‘naked shingles’ the darkness continues, interrupted only by the confused alarms and fights and pack conflicts of struggle by night-the sounds of supreme futility” Arnold uses much beginning rhyme and assonance in the poem as well. For example, in line 31, â€Å"To lie before us like a land of dreams”, repeating the letter L at the beginning of three words. Also, in line 4, â€Å"Gleams and is gone…” repeating the letter G. Arnold shows use of assonance in line 2, â€Å"tied/lies” and in line 31, â€Å"lie/like”\r\nThe most important method acting in â€Å"Dover Beach” includes the rhythm and the metre of the lines and the stanzas of the poem. The sea/is calm/to-night. The gentle lively rhythm of the iamb mirrors the â€Å"ebb and flow” of the sea. The actual words of the first line manifest this idea to picture a calm sea gently lapping at the beach. The second line also reveals a calm sea. However, line 3 breaks the pattern and forces the reader to break his or her own rhythm. Line 3 includes: Upon/the straits,//on the French/Coast/the light. The line begins and ends with an iamb, but the middle is broken up. This is a foreshadow of the deflect to come. The fourth line breaks up even further at the beginning, but the fifth line recovers the rhythm. gleam/and vast//out in/the tran/quil bay.\r\nThe rhythm recovers by the end of the first stanza, but the original rhythm has not. The number of feet per line constantly increases from three to four and then to five, once again, a foreshadow of the future struggle. The second stanza attempts to regain a pattern but the pattern disappears in line 7 only to reappear in line 8. The pattern of iambs continues through the stanza, but the number of feet per line never projects a pattern. 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 inherent confusion and trouble.\r\nThe illusion of the rhythm masks the reality of the struggle of the speaker. The auditory qualities of lines 9-14 set the tone for the rest of the poem. â€Å" mind! yoU HEAR the GRATing ROar / of PEBbles which the WAves DRaw back, anD FLinG, / aT their return, UP the HIgh strand, / BEgin, anD ceASE, anD thEN agAIN beGIN, / with unsteady CAdenCE SLOw, anD bring / the eterNAL noTe oF distress IN.”\r\nArnold’s â€Å"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 an d the meter, the lack of a consistent rhyme scheme, the figures of speech, the sound of the words, and the jeering of the entire poem. The symbolism of the sea and the imagery of light and dark bring out the alternating visual and auditory qualities, which elaborate on illusion and reality, respectively, Arnold’s portrayal of one person’s battle with illusion and reality shows a complex date of humanity in a simple poem.\r\n'