Search results

You are looking at 1 - 10 of 116 items for :

  • "Andrew Marvell" x
  • Refine by access: All content x
Clear All
Steven N. Zwicker

On behalf of the Age of Andrew Marvell? Steven N. Zwicker The Age of Shakespeare, of course; the Age of Milton, no doubt; the Age of Dryden, yes, and he would have been pleased by the notion that those contentious years from the Restoration of Charles II to the end of the century belonged to him – he had, variously, said as much. But the Age of Andrew Marvell? What would the elusive poet, that shadowy and eccentric figure, have made of such an idea? He tried hard to disappear from his own time: he wrote extraordinary lyric poetry only to secrete the verse not

in Texts and readers in the Age of Marvell
Bulletin of the John Rylands Library

Since 1980s, there has been a steady stream of excellent work on the politics of literature and the literature of politics in seventeenth century England. Work on Andrew Marvell has seen a resurgence in the new millennium, driven by landmark scholarly editions of both his poetry and his prose. This book invites readers to entertain the prospect of placing Marvell at the centre of the literary landscape, exploring how such placement would shift people's perceptions of seventeenth-century literary culture. It presents a collection of essays that are divided into three sections. The first section asks readers to consider novel ways in which early modern and contemporary readers have conceived of texts and their position in the public world of print consumption and critical practice. It focuses on the relationship between literary texts and their historical moments, aesthetics, contextualisation of the religious, political, or social and Marvell's lasting awareness of and fascination with the public. The second section outlines seventeenth-century accounts and perceptions of child abuse, and the problems of identifying and recounting the experience of abuse and the broader significance of the appeal to Marvell of European poetry. The last section takes up issues of literary relations between prominent authors of the century. It illustrates how Marvell's depiction also stands in relation to Dutch representations of de Ruyter's victory, which emphasised the martial heroism as well as the negative consequences of the English monarchy's economic policies.

Andrew McRae and John West

. He was condemned as a tyrant, mocked as a false king and ridiculed for his appearance: Cromwell’s nose was one of the most common features of satirical verse in the 1650s. But there were, equally, defences of him as an active ruler guided by providence far beyond what any king could be. As Andrew Marvell put it: ‘For to be Cromwell was a greater thing, | Than ought below, or yet above, a king’ (see III.3). Cromwell, for his part, always refused to take the crown or the title of king despite its being offered to him first in 1653 and again in 1657. Critics and

in Literature of the Stuart successions
Abstract only
Christopher D’Addario

much of the thinking in this volume crystallises around the figure of Andrew Marvell, since no author seems more amenable to such novel approaches. It has become a commonplace of Marvell studies to emphasise the poet’s inscrutability, the protean nature of his political stances, the strange and irresolvable turns of thought in his lyrics. The extent to which this inscrutability is praised as a sign of the quality of his writing is a clear indication of the status of indeterminacy in the critical climate at the dawn of the twenty-first century.4 As far as Marvell

in Texts and readers in the Age of Marvell
Ekphrasis and mortality in Andrew Marvell
Keith McDonald

3 ‘Art indeed is long, but life is short’: ekphrasis and mortality in Andrew Marvell Keith McDonald Andrew Marvell, the seventeenth-century poet, politician, and prose satirist, demonstrates throughout his work a profound connection with the full range of visual arts.1 Amid scenes of extreme political upheaval in the mid-seventeenth century and new dawns of scientific, technological, and astrological discovery, the visual remains at the heart of his poetic imagination. His verse combines these various cultural phenomena, often rapt with the self-conscious irony

in Ekphrastic encounters
Marvell’s public and private writings, 1649– 65
Keith McDonald

168 Chapter 8 ‘Far off the public stage’: Marvell’s public and private writings, 1649–​65 Keith McDonald T o describe Andrew Marvell’s controversial ‘Horatian Ode’ of 1650 as ‘the most private of public poems’, as Blair Worden does, is to emphasise the perplexing dichotomy that lies behind some of his most significant works: between public voice on the one hand, and private handling on the other.1 The poem’s ‘forward youth’, who faces the adjustment from books to military service in the summer of 1650, came from a poet who must have realised that the brief

in From Republic to Restoration
The captivity narrative of William Okeley (1675)
Catherine Vigier

Protestants who were excluded – Presbyterians, Independents, Quakers and others – differed widely, but in their opposition to the established Church they suffered equally. This chapter focuses on the literary response to this oppression, specifically that which was organised by of a group of personalities working with the publisher Nathaniel Ponder in the 1670s. Not only did Ponder publish Andrew Marvell’s highly successful satire The Rehearsal Transpros’d, but he also used a more popular genre, the captivity narrative, to continue the polemic under the nose of the censor

in Radical voices, radical ways
Subjectivity, sex, and suffering in early modern England
Derek Hirst

Hirst: Understanding experience 6 Understanding experience: subjectivity, sex, and suffering in early modern England Derek Hirst Towards the end of Upon Appleton House, Andrew Marvell seems to display himself, or rather himself-imagined-as-tutor, on the banks of the River Wharfe. He there presents a simulacrum of what Edwardian readers might have called ‘self-abuse’ as he contemplates his young tutee, Mary Fairfax. The sexually charged puns, as well as the very self-conscious tone heard there and heard repeatedly in his verse – in Appleton House, in Dr Witty

in Texts and readers in the Age of Marvell
Rewriting Shakespeare in A Poem upon the Death of O. C.
Alex Garganigo

in which Hal reveals the larger purpose of his slumming in the tavern world: … herein will I imitate the sun, Who doth permit the base contagious clouds To smother up his beauty from the world, That when he please again to be himself, Being wanted he may be far more wondered at 215 part iii: rethinking literary histories By breaking through the foul and ugly mists Of vapours that did seem to strangle him. (1.2.175–81)28 Marvell, by contrast, failed to become a clergyman like his father, Andrew Marvell Senior. Andrew Marvell Junior is only a servant, a

in Texts and readers in the Age of Marvell