"To Marguerite—Continued," a lyric poem by Matthew Arnold, resonates with the echoes of Latin literature that he was familiar with from his academic pursuits. Although firmly anchored in the context of its own era, the poem is enriched by classical influences, particularly from Horace's works. An essential verbal parallel can be observed in Arnold's use of the word "estranging," likely inspired by a translation of Horace’s odes by a renowned Latin scholar known to Arnold. In Horace's context, the ocean merely temporarily separates him from a friend, a fleeting inconvenience. In contrast, Arnold's ocean symbolizes a profound and enduring separation intrinsic to human existence.

Arnold's portrayal of isolation starkly diverges from the romantic escapism associated with Ortis, a somewhat Byronic figure whose letters are alluded to in the poem’s initial title. Where Ortis embodies the spirit of a defiant and romantic exile, Arnold’s representation of solitude is deeply reflective of a more pervasive alienation. The permanence of Arnold’s estrangement speaks to a broader philosophical contemplation on the nature of human relationships, transcending the temporary barriers described by Horace.

Critics have often interpreted Matthew Arnold's works as a critique of English culture, particularly for its perceived insularity from the broader currents of enlightened European thought. While this theme is manifest in Arnold's renowned poem "Dover Beach" (1867), which poignantly explores the theme of isolation, its presence in his poem "To Marguerite—Continued" is subtler, offering merely a hint of this critique.

The poem delves into multifaceted estrangements, extending beyond mere separation to encompass a variety of disconnections. Central to its theme is the futility of love, particularly of a romantic and sexual nature. Matthew Arnold considered this work part of his "Switzerland" series, which portrays tales of sexual love hindered by his own hesitations and reservations. The limited exchanges depicted in the second stanza highlight this theme, featuring the soothing yet distant songs of nightingales on a quintessentially romantic spring evening.

The poem's allure lies in its extravagant evocation of profound longings. It delves into desires that originate from the deepest parts of the heart, intertwining sexual yearnings with the universal human aspiration for intimate connection with others. The use of the word "divinely" may even hint at religious yearnings, suggesting a quest for spiritual fulfillment. Regardless of the nature of these desires, the poem identifies the root of unhappiness as external, symbolized by the sea rather than the islands. It posits that if not for an external force, individuals might find freedom from their constraints.

In exploring the theme of human connection, Arnold’s metaphor offers a striking contrast to John Donne’s renowned passage from Devotions upon Emergent Occasions (1624). Donne famously writes, “No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine.” His metaphor, rich with imagery of geographical unity, underscores the interconnected nature of humanity. Rooted in the ceremonial tradition of the Anglican Church, Donne’s words dismantle the notion of individual self-reliance, advocating instead for the inherent interconnectedness of all people.

Two centuries onward, Matthew Arnold emerged as a herald for a generation confronting transformative change. The Church of England, once a robust pillar of stability, found itself increasingly undermined by waves of dissent and burgeoning skepticism. In Arnold’s “Dover Beach,” the imagery of the “Sea of Faith” receding poignantly captures this loss of religious certainty. Concurrently, the forces of industrialization swept through central England, and the advent of the passenger railway dramatically altered the social landscape. The rapid pace of these developments began unraveling the cohesive fabric of traditional society, leaving individuals more isolated than ever before—a reality astutely observed by many Victorian thinkers.

Amidst this backdrop of disenchantment and solitude, Arnold’s poetry emerges not only as an exploration of youthful love and human alienation but also as a profound response to the incipient modern world. His work, particularly emblematic of the nineteenth century, eloquently encapsulates these themes, serving as a poignant reflection of the era’s existential grappling. As society faced the challenges of modernity, Arnold’s verse resonated with the anxiety and introspection of a time on the cusp of profound change.