Dover Beach
The sea is calm to-night.The tide is full, the moon lies fairUpon the straits; on the French coast, the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched sand,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in.
Sophocles long agoHeard it on the Ægean, and it broughtInto his mind the turbid ebb and flowOf human misery: weFind also in the sound a thought,Hearing it by this distant northern sea.
The sea of faithWas once, too, at the full, and round earth’s shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world.
Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night.
Words in this poem
- sadness n.
- Heaviness; firmness.
- drear n.
- Sadness; dismalness.
- certitude n.
- Freedom from doubt; assurance; certainty. J. H. Newman. [LL. certitudo, fr. L. certus: cf. F. certitude. See Certain.]
- darkling a.
- Becoming dark or gloomy; frowing.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Dover Beach 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, Dover Beach, in Poems (1849–1867), text of Project Gutenberg ebook #54985, Laurel, https://laurelpoetry.com/poem/arnold-poems/dover-beach.html, id L07020.
Form and metre
Dover Beach is 37 lines in 5 stanzas. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 87%). 93% of its stressed syllables fall where the metre puts the beat. The lines average 8.6 syllables. 46% of the lines run on without a stop at the line end.
See other poems in iambic pentameter.
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 ABACD nightA · fairB · lightA · standC · bayD
- 2 BDC-ECFEF airB · sprayD · sandC · roar · flingE · strandC · beginF · bringE · inF
- 3 GHGIHI agoG · broughtH · flowG · weI · thoughtH · seaI
- 4 -JKLJ-LK faith · shoreJ · furledK · hearL · roarJ · breath · drearL · worldK
- 5 MNNMOPPOO trueM · seemsN · dreamsN · newM · lightO · painP · plainP · flightO · nightO
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 pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| The sea is calm to-night. | 6 | ······ |
| The tide is full, the moon lies fair | 8 | ········ |
| Upon the straits; on the French coast, the light | 10 | ·········· |
| Gleams and is gone; the cliffs of England stand, | 10 | ·······/˘· |
| Glimmering and vast, out in the tranquil bay. | 10 | /˘·····/˘· |
| Come to the window, sweet is the night-air! | 10 | ···/˘····· |
| Only, from the long line of spray | 8 | /˘······ |
| Where the sea meets the moon-blanched sand, | 8 | ········ |
| Listen! you hear the grating roar | 8 | /˘···/˘· |
| Of pebbles which the waves draw back, and fling, | 10 | ·/˘······· |
| At their return, up the high strand, | 8 | ··˘/···· |
| Begin and cease, and then again begin, | 10 | ˘/····˘/˘/ |
| With tremulous cadence slow, and bring | 8 | ·/˘/˘··· |
| The eternal note of sadness in. | 9 | ·˘/˘··/˘· |
| Sophocles long ago | 6 | /˘˘·˘/ |
| Heard it on the Ægean, and it brought | 8 | ········ |
| Into his mind the turbid ebb and flow | 10 | ·····/˘··· |
| Of human misery: we | 7 | ·/˘/˘˘· |
| Find also in the sound a thought, | 8 | ·/˘····· |
| Hearing it by this distant northern sea. | 10 | /˘···/˘/˘· |
| The sea of faith | 4 | ···· |
| Was once, too, at the full, and round earth’s shore | 10 | ·········· |
| Lay like the folds of a bright girdle furled. | 10 | ·······/˘· |
| But now I only hear | 6 | ···/˘· |
| Its melancholy, long, withdrawing roar, | 10 | ·/˘·˘·˘/˘· |
| Retreating, to the breath | 6 | ˘/˘··· |
| Of the night-wind, down the vast edges drear | 10 | ·······/˘· |
| And naked shingles of the world. | 8 | ·/˘/˘··· |
| Ah, love, let us be true | 6 | ······ |
| To one another! for the world, which seems | 10 | ··˘/˘····· |
| To lie before us like a land of dreams, | 10 | ·········· |
| So various, so beautiful, so new, | 8 | ·/˘·/˘·· |
| Hath really neither joy, nor love, nor light, | 10 | ·/˘/˘····· |
| Nor certitude, nor peace, nor help for pain; | 10 | ·/˘······· |
| And we are here as on a darkling plain | 10 | ·······/˘· |
| Swept with confused alarms of struggle and flight, | 11 | ··˘/˘/·/˘·· |
| Where ignorant armies clash by night. | 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.