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In Culture and Anarchy, Matthew Arnold sought a center of authority by which the anarchy caused by the troubled passage of the Reform Bill of 1867 might be regulated. At its best, his style is clear, flexible, and convincing. He wrote in such a complicated mood of indignation, impatience, and fear, however, that his style and his argumentative method are frequently repetitious and unsystematic. The book is nevertheless a masterpiece of polished prose, in which urbane irony and shifts of ridicule are used to persuade the Victorian middle class that it must reform itself before it can begin to reform the entire nation.

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Writing as a so-called Christian humanist, Arnold primarily directed his criticism against the utilitarianism of the followers of Jeremy Bentham and John Stuart Mill and against the various movements of liberal reform. Disturbed by the social and political confusion, by Fenianism and the Hyde Park Riots of 1866, and by the inability of either the church or the government to cope with the growing unrest both in England and on the Continent, Arnold attempted to describe an objective center of authority that all, regardless of religious or social bias, could follow.

This center of authority is culture, which he defined on the level of the individual as “a pursuit of our total perfection by means of getting to know, on all matters which most concern us, the best which has been thought and said in the world.” Because this authority is internal, it is a study of perfection within the individual, a study that should elevate the “best self” through a fresh and free search for beauty and intelligence. By following “right reason,” the disinterested intellectual pursuits of the best self, Arnold foresaw a way to overcome the social and political confusion of the 1860’s and to prepare for a future in which all could be happy and free. With this basically romantic view of human beings as a means and human perfectibility as the end, Arnold turned to social criticism, carefully showing that no other center of authority was tenable. The ideal of nonconformity, the disestablishment of the church, led to confusion or anarchy because it represented the sacrifice of all other sides of human personality to the religious. The ideal of the liberal reformers, on the other hand, led to anarchy because it regarded the reforms as ends rather than means toward a harmonious totality of human existence.

Arnold clarifies his definition of culture by tracing its origin to curiosity or “scientific passion” (the desire to see things as they really are) and to morality or “social passion” (the desire to do good). Christianity, as he saw it, is like culture in that it also seeks to learn the will of God (human perfection) and make it prevail. Culture goes beyond religion, however, as interpreted by the Nonconformists in that it is a harmonious expansion of all human powers. In even sharper terms, culture is opposed to utilitarianism, which Arnold considered “mechanical” because it worshiped means rather than ends. In fact, anything—materialism, economic greatness, individual wealth, bodily health, Puritanism—that was treated as an end except that of human perfectibility was to Arnold mere “machinery” that led to anarchy. Only culture, the harmonious union of poetry (the ideal of beauty) and religion (the ideal of morality), sees itself as a means that preserves the totality of the individual. Culture looks beyond machinery; it has only one passion—the passion for “sweetness” (beauty) and “light” (intelligence) and the passion to make them prevail. With such a passion it seeks to do away with social classes and religious bias to make the best that has been thought and known in the world (right reason) the core of human endeavor and institutions.

After establishing his definition of culture in terms of the...

(The entire section contains 1927 words.)

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