Rewriting Shakespeare in A Poem upon the Death of O. C.
Garganigo: Marvell’s personal elegy?
Marvell’s personal elegy?
Rewriting Shakespeare in A Poem
upon the Death of O. C.
‘I saw him dead’ is probably the best-known line in Marvell’s Poem upon
the Death of His Late Highness the Lord Protector (late 1658–early 1659),
and most readings advance it as proof of the elegy’s personal nature –
‘personal’ connoting simplicity and directness, truth and accuracy, love
and admiration for the deceased. Marvell, so the story goes, actually saw
the corpse of the Lord Protector in September 1658,1 and the
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.
Smith: The European Marvell
The European Marvell
We have long known that Marvell stood out among his contemporaries
both for his familiarity with European literature, not least poetry, in Latin
and in the vernaculars, and his familiarity with many of the states, cities,
and countryside of continental Europe because he travelled there. A map
of his possible or actual literary encounters in his travels, and the possibility that he had an impact as a man of letters in those places, are research
areas under investigation. To those agendas we can add
McKeon: Marvell discovers the public sphere
Marvell discovers the public sphere
At the Rainbow Coffee-house the other day, taking my place at due distance,
not far from me, at another Table sat a whole Cabal of wits; made up of
Virtuoso’s, Ingenioso’s, young Students of the Law, two Citizens, and to
make the Jury full, vous avez, one old Gentleman … [T]hey all laughing
heartily and gaping, … I was tickled to know the cause of all this mirth,
and presently found, it was a Book made all this sport; the Title of it, The
Raylor: Waller, Tasso, and Marvell
Waller, Tasso, and Marvell’s Last
Instructions to a Painter
In their psycho-biographical study, Andrew Marvell, Orphan of the
Hurricane, Derek Hirst and Steven N. Zwicker remark, as many previous readers have done, on the strange interlude at the heart of Marvell’s
Last Instructions to a Painter: a scene in which the poet turns from satiric
catalogue to pastoral celebration of the beauty of the English river scene;
to indulgently comedic celebration of the Dutch admiral, de Ruyter, as a
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
For educated poets and readers in the Renaissance, classical literature was as familiar and accessible as the work of their compatriots and contemporaries – often more so. Their creative response to it was not a matter of dry scholarship or inert imitation, but rather of engagement in an ancient and lively conversation which was still unfolding, both in the modern languages and in new Latin verse. This volume seeks to recapture that sense of intimacy and immediacy, as scholars from both sides of the modern disciplinary divide come together to eavesdrop on the conversations conducted through allusion and intertextual play in works from Petrarch to Milton and beyond, and offer their perspectives on the intermingling of ancient and modern strains in the reception of the classical past and its poetry. The essays include illuminating discussions of Ariosto, Du Bellay, Spenser, Marlowe, the anonymous drama Caesars Revenge, Shakespeare and Marvell, and look forward to the grand retrospect of Shelley’s ‘Adonais’. Together, they help us to understand how poets across the ages have thought about their relation to their predecessors, and about their own contributions to what Shelley would call ‘that great poem, which all poets… have built up since the beginning of the world’.
If Thomas Browne – literary history tells us – is a writer not to be mistaken for Milton, Marvell is one often found riding in the great Milton’s wake. Thus does Marvell, late in the Second Part of his Rehearsal Transros’d (1673), pull up short to complain of his interlocutor, the future bishop Samuel Parker: ‘You do three times at least in your Reproof , and in your Transproser Rehears’d well nigh half the book thorow, run upon an Author J. M. which does not a little offend me. For why should any other mans reputation suffer in a
‘Art indeed is long, but life is short’:
ekphrasis and mortality in Andrew Marvell
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