Introduction

Matthew Arnold’s Culture and Anarchy is an extended essay reflecting on the aims of culture and the dangers of the rising forces of industrialism, mercantilism, and political agitation in Victorian England. First serialized in 1867-1868 for Cornhill Magazine, a leading monthly journal at the time, Culture and Anarchy later appeared as a complete book in 1869.

Faced with the rapid political, economic, and cultural changes sweeping through Victorian society, Arnold penned Culture and Anarchy in defense of what he believed were the characteristics and aims of “true” culture. For Arnold, the essence of true culture can be summarized in the maxim “sweetness and light”—a harmonious union between the “sweetness” of beauty and the “light” of intelligence and reason. Culture, Arnold argues, inspires both individuals and society at large to strive for the perfecting of mankind, allowing men and women to elevate themselves above the tumultuous impulses of their ordinary selves.

Although distinguished as a poet as well as a prose writer, Arnold is now perhaps best known for Culture and Anarchy, which was the highpoint of his work as a literary and cultural critic. The work is valuable both for its influential conceptions of “true” culture and as a landmark text in the Victorian debates about culture and its role in society.

This guide uses the Kobo eBook version of the Oxford University Press edition of Culture and Anarchy (2006). All page citations refer to the digital page locations of the Kobo edition.

Summary

Matthew Arnold opens Culture and Anarchy with both a Preface and an Introduction. The Preface is a lengthy and significant part of the text, as it expounds many of Culture and Anarchy’s key ideas. He defines culture as total perfection on both an individual and societal level and defends the importance of Establishments in both religion and in the propagation of culture. He introduces several key concepts that will play a greater role in later chapters: “sweetness and light” as the essence of culture, the division of English society into “Philistines,” “Barbarians,” and the “Populace,” and the contrasting influence of Hebraism and Hellenism. In his Introduction, he acknowledges the critics of culture who accuse men like Arnold of inefficiency and inaction. Arnold explains that his purpose in Culture and Anarchy is to define culture, the good it can do, and why he believes in it.

In Chapter 1, Arnold discusses how and why perfection is the essence of true culture. He also describes true culture as working to perfect both individuals and humankind at large. He argues that Victorian England’s obsession with materialism and industrialism has led to a neglect of true culture. He portrays Englishmen as fundamentally fixated on liberty and their own selfish pursuits instead of caring for “sweetness and light.” In Chapter 2, Arnold speaks more about industrialism and its harmful effects on the national psyche while also exploring the dangers of anarchy and unchecked individualism.

In Chapter 3, Arnold examines the English class system, which he divides into three sections: the “Barbarians” (the aristocracy), the “Philistines” (the middle class), and the “Populace” (the working class). He argues that each class has fundamental flaws to which members of that class often succumb to the detriment of true culture. He asserts that a believer of culture can come from any class and that believers in true culture transcend class to make their humanity their defining feature. He claims that English subjects often mistrust the state because they believe it only represents the interests of whatever class puts them into power.

In Chapter 4, Arnold discusses the difference between Hebraism (the Semitic influence in culture) and Hellenism (the classical Greek and Roman influence in culture). He argues that Hebraism has long been more dominant in English culture and that now it is time for Hellenism to once again gain the ascendancy. In Chapter 5, Arnold expounds upon the benefits of Hellenism and the role it should now play in English culture.

In Chapter 6, Arnold discusses the nature of freedom, claiming that freedom is more about service and duties than the idea of “rights.” He once more stresses that true perfection is an inward perfection, working from the inside out and affecting both individuals and communities at large. Arnold acknowledges the many injustices present in Victorian England, such as the impoverishment of the working class, but says this is no justification for rapid and radical action—instead, believers in culture should focus on determining what is truly good. In his Conclusion, he denounces all forms of mass protests and demonstrations—even for those on behalf of causes he accepts as worthy—saying that a believer in culture should always support the state, as without order society is at risk and perfection can only be achieved within a society. Therefore, all forms of popular demonstrations must be strictly forbidden. He concludes by stating that the believer in culture should not actively participate in public life but should instead seek to observe, reflect, and promote true culture and its ends.