Bacchanalia; Or, the New Age II
The epoch ends, the world is still.The age has talked and worked its fill.The famous orators have shone,The famous poets sung and gone,The famous men of war have fought,The famous speculators thought,The famous players, sculptors, wrought,The famous painters filled their wall,The famous critics judged it all.The combatants are parted now;Uphung the spear, unbent the bow,The puissant crowned, the weak laid low.And in the after-silence sweet,Now strifes are hushed, our ears doth meet,Ascending pure, the bell-like fameOf this or that down-trodden name,Delicate spirits, pushed awayIn the hot press of the noonday.And o’er the plain, where the dead ageDid its now-silent warfare wage,--O’er that wide plain, now wrapped in gloom,Where many a splendor finds its tomb,Many spent fames and fallen nights nights--The one or two immortal lightsRise slowly up into the sky,To shine there everlastingly,Like stars over the bounding hill.The epoch ends, the world is still.
Thundering and burstingIn torrents, in waves,Carolling and shoutingOver tombs, amid graves,See! on the cumbered plainClearing a stage,Scattering the past about,Comes the new age.Bards make new poems,Thinkers new schools,Statesmen new systems,Critics new rules.All things begin again;Life is their prize;Earth with their deeds they fill,Fill with their cries.
Poet, what ails thee, then?Say, why so mute?Forth with thy praising voice!Forth with thy flute!Loiterer! why sittest thouSunk in thy dream?Tempts not the bright new age?Shines not its stream?Look, ah! what genius,Art, science, wit!Soldiers like Cæsar,Statesmen like Pitt!Sculptors like Phidias,Raphaels in shoals,Poets like Shakspeare,--Beautiful souls!See, on their glowing cheeksHeavenly the flush!--Ah! so the silence was!So was the hush!
The world but feels the present’s spell:The poet feels the past as well;Whatever men have done, might do,Whatever thought, might think it too.
Words in this poem
- puissant a.
- Powerful; strong; mighty; forcible; as, a puissant prince or empire. [F., originally, a p. pr. formed fr. L. posse to be able: cf. L. potens powerful. See Potent.]
- noonday n.
- Midday; twelve o'clock in the day; noon.
- wage v. i.
- To bind one's self; to engage.
- everlastingly adv.
- In an everlasting manner.
- thundering a.
- Emitting thunder.
- amid prep.
- In the midst or middle of; surrounded or encompassed by; among. [OE. amidde, amiddes, on midden, AS. on middan, in the middle, fr. midde the middle. The s is an adverbial ending, originally marking the genitive; the t is a la]
- loiterer n.
- One who loiters; an idler.
- pitt n.
- A large cavity or hole in the ground, either natural or artificial; a cavity in the surface of a body; an indentation; specifically: (a) The shaft of a coal mine; a coal pit. [OE. pit, put, AS. pytt a pit, hole, L. puteus a well, pit.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Bacchanalia; Or, the New Age II is in the public domain. This text is taken from Poems, Project Gutenberg ebook #54985; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Matthew Arnold, Bacchanalia; Or, the New Age II, in Poems (1849–1867), text of Project Gutenberg ebook #54985, Laurel, https://laurelpoetry.com/poem/arnold-poems/bacchanalia-or-the-new-age-ii.html, id L07042.
Form and metre
Bacchanalia; Or, the New Age II is 68 lines in 4 stanzas. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 89%). 95% of its stressed syllables fall where the metre puts the beat. The lines average 6.4 syllables. 6 lines end on an unstressed syllable, a feminine ending. 13% of the lines run on without a stop at the line end.
See other poems in iambic tetrameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 AA--BBBCCDD-EEFF--GGHHII--AA stillA · fillA · shone · gone · foughtB · thoughtB · wroughtB · wallC · allC · nowD · bowD · low · sweetE · meetE · fameF · nameF · away · noonday · ageG · wageG · gloomH · tombH · nightsI · lightsI · sky · everlastingly · hillA · stillA
- 2 -A-ABC-C-D-DBE-E bursting · wavesA · shouting · gravesA · plainB · stageC · about · ageC · poems · schoolsD · systems · rulesD · againB · prizeE · fill · criesE
- 3 -A-A-B-B-C-C-D-D-E-E then · muteA · voice · fluteA · thou · dreamB · age · streamB · genius · witC · cæsar · pittC · phidias · shoalsD · shakspeare · soulsD · cheeks · flushE · was · hushE
- 4 AABB spellA · wellA · doB · tooB
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| The epoch ends, the world is still. | 8 | ·/˘····· |
| The age has talked and worked its fill. | 8 | ········ |
| The famous orators have shone, | 8 | ·/˘/˘˘·· |
| The famous poets sung and gone, | 8 | ·/˘/˘··· |
| The famous men of war have fought, | 8 | ·/˘····· |
| The famous speculators thought, | 8 | ·/˘/˘·˘· |
| The famous players, sculptors, wrought, | 8 | ·/˘/˘/˘· |
| The famous painters filled their wall, | 8 | ·/˘/˘··· |
| The famous critics judged it all. | 8 | ·/˘/˘··· |
| The combatants are parted now; | 8 | ·˘/˘·/˘· |
| Uphung the spear, unbent the bow, | 8 | ········ |
| The puissant crowned, the weak laid low. | 9 | ·/˘˘····· |
| And in the after-silence sweet, | 8 | ·····/˘· |
| Now strifes are hushed, our ears doth meet, | 8 | ····/··· |
| Ascending pure, the bell-like fame | 8 | ˘/˘····· |
| Of this or that down-trodden name, | 8 | ·····/˘· |
| Delicate spirits, pushed away | 8 | /˘˘/˘·˘/ |
| In the hot press of the noonday. | 8 | ······/˘ |
| And o’er the plain, where the dead age | 8 | ········ |
| Did its now-silent warfare wage,-- | 8 | ···/˘/·· |
| O’er that wide plain, now wrapped in gloom, | 8 | ········ |
| Where many a splendor finds its tomb, | 8 | ·/·/˘··· |
| Many spent fames and fallen nights nights-- | 8 | /···/˘·· |
| The one or two immortal lights | 8 | ····˘/˘· |
| Rise slowly up into the sky, | 8 | ·/˘····· |
| To shine there everlastingly, | 8 | ········ |
| Like stars over the bounding hill. | 8 | ·····/˘· |
| The epoch ends, the world is still. | 8 | ·/˘····· |
| Thundering and bursting | 6 | /˘˘·/˘ |
| In torrents, in waves, | 5 | ·/˘·· |
| Carolling and shouting | 6 | /˘˘·/˘ |
| Over tombs, amid graves, | 6 | ···˘/· |
| See! on the cumbered plain | 7 | ···/˘˘· |
| Clearing a stage, | 4 | /˘·· |
| Scattering the past about, | 7 | /˘˘···· |
| Comes the new age. | 4 | ···· |
| Bards make new poems, | 5 | ···/˘ |
| Thinkers new schools, | 4 | /˘·· |
| Statesmen new systems, | 5 | /˘·/˘ |
| Critics new rules. | 4 | /˘·· |
| All things begin again; | 6 | ··˘/˘/ |
| Life is their prize; | 4 | ···· |
| Earth with their deeds they fill, | 6 | ······ |
| Fill with their cries. | 4 | ···· |
| Poet, what ails thee, then? | 6 | /˘···· |
| Say, why so mute? | 4 | ···· |
| Forth with thy praising voice! | 6 | ···/˘· |
| Forth with thy flute! | 4 | ···· |
| Loiterer! why sittest thou | 7 | /˘˘·/˘· |
| Sunk in thy dream? | 4 | ···· |
| Tempts not the bright new age? | 6 | ······ |
| Shines not its stream? | 4 | ···· |
| Look, ah! what genius, | 5 | ···/˘ |
| Art, science, wit! | 4 | ·/˘· |
| Soldiers like Cæsar, | 4 | /˘·· |
| Statesmen like Pitt! | 4 | /˘·· |
| Sculptors like Phidias, | 5 | /˘··· |
| Raphaels in shoals, | 5 | ·˘/·· |
| Poets like Shakspeare,-- | 5 | /˘··· |
| Beautiful souls! | 4 | /˘˘· |
| See, on their glowing cheeks | 6 | ···/˘· |
| Heavenly the flush! | 5 | /˘˘·· |
| --Ah! so the silence was! | 6 | ···/˘· |
| So was the hush! | 4 | ···· |
| The world but feels the present’s spell: | 8 | ·····/˘· |
| The poet feels the past as well; | 8 | ·/˘····· |
| Whatever men have done, might do, | 8 | ·/˘····· |
| Whatever thought, might think it too. | 8 | ·/˘····· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.