Arnold -----Preface to Poems of 1853

In the preface to his Poems (1853) Arnold asserts the importance of architectonics; ('that power of execution, which creates, forms, and constitutes') in poetry - the necessity of achieving unity by subordinating the parts to the whole, and the expression of ideas to the depiction of human action, and condemns poems which exist for the sake of single lines or passages, stray metaphors, images, and fancy expressions. Scattered images and happy turns of phrase, in his view, can only provide partial effects, and not contribute to unity. He also, continuing his anti-Romantic theme, urges, modern poets to shun allusiveness and not fall into the temptation of subjectivity.
He says that even the imitation of Shakespeare is risky for a young writer, who should imitate only his excellences, and avoid his attractive accessories, tricks of style, such as quibble, conceit, circumlocution and allusiveness, which will lead him astray.
Arnold commends Shakespeare's use of great plots from the past. He had what Goethe called the architectonic quality, that is his expression was matched to the action (or the subject). But at the same time Arnold quotes Hallam to show that Shakespeare's style was complex even where the press of action demanded simplicity and directness, and hence his style could not be taken as a model by young writers. Elsewhere he says that Shakespeare's 'expression tends to become a little sensuous and simple, too much intellectualised'.
Shakespeare's excellences are 1)The architectonic quality of his style; the harmony between action and expression. 2) His reliance on the ancients for his themes. 3) Accurate construction of action. 4) His strong conception of action and accurate portrayal of his subject matter. 5) His intense feeling for the subjects he dramatises.
His attractive accessories (or tricks of style) which a young writer should handle carefully are 1) His fondness for quibble, fancy, conceit. 2) His excessive use of imagery. 3) Circumlocution, even where the press of action demands directness. 4) His lack of simplicity (according to Hallam and Guizot). 5) His allusiveness.
As an example of the danger of imitating Shakespeare he gives Keats's imitation of Shakespeare in his Isabella or the Pot of Basil. Keats uses felicitous phrases and single happy turns of phrase, yet the action is handled vaguely and so the poem does not have unity. By way of contrast, he says the Italian writer Boccaccio handled the same theme successfully in his Decameron, because he rightly subordinated expression to action. Hence Boccaccio's poem is a poetic success where Keats's is a failure.
Arnold also wants the modern writer to take models from the past because they depict human actions which touch on 'the great primary human affections: to those elementary feelings which subsist permanently in the race, and which are independent of time'. Characters such as Agamemnon, Dido, Aeneas, Orestes, Merope, Alcmeon, and Clytemnestra, leave a permanent impression on our minds. Compare 'The Iliad' or 'The Aeneid' with 'The Childe Harold' or 'The Excursion' and you see the difference.
A modern writer might complain that ancient subjects pose problems with regard to ancient culture, customs, manners, dress and so on which are not familiar to contemporary readers. But Arnold is of the view that a writer should not concern himself with the externals, but with the 'inward man'. The inward man is the same irrespective of clime or time.