Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.36
N. McDowell
In what is probably the most influential essay ever written on Marvell, T. S. Eliot suggested that Marvell was among those men who ‘supported the Commonwealth’ but who were not stereotypically Puritan: they were rather ‘men of education and culture, even of travel, [and] some of them were exposed to that spirit of the age which was coming to be the French spirit of the age’. This chapter seeks to develop a more contextualized sense of the ways in which a ‘French spirit’ animates Marvell’s poetry, particularly the early lyric and pastoral verse. It does so by reconstructing the cultural and social contexts, both in France and England, in which Marvell would have encountered French libertin poetry of the mid-seventeenth century—a poetry characterized by its engagement with sceptical and Epicurean philosophies and its openness to varieties of sexual experience.
t·s·艾略特(T. S. Eliot)在一篇可能是有史以来最具影响力的关于马维尔的文章中指出，马维尔是那些“支持联邦”但并非典型清教徒的人之一:他们是“受过教育和文化的人，甚至是旅行的人，(而且)他们中的一些人接触到了那个时代的精神，这种精神即将成为法国的时代精神”。本章试图发展一种更情境化的感觉，即“法国精神”如何激发马维尔的诗歌，特别是早期的抒情诗和田园诗。它通过重建法国和英国的文化和社会背景来实现这一点，马维尔在那里遇到了17世纪中期的法国自由主义诗歌——这种诗歌的特点是与怀疑主义和伊壁鸠鲁哲学的接触，以及对各种性经验的开放。
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.26
A. Brett
The Machiavellian dimension to the portrayal of Cromwell in ‘An Horatian Ode upon Cromwell’s Return from Ireland’ has long been recognized. The first part of this essay moves beyond existing interpretations to situate Marvell’s political poem in relation to the poetics of post-Machiavellian political discourse as it was understood and practised in a Europe-wide context, with a particular focus on translation between England, Italy, and Spain. Recovering the peculiar ‘wit’ of the sententia, which lay in its relation to action, enables us better to appreciate the complexity and subtlety with which Marvell created a contemporary Horatian voice. The second part of the essay turns to the characters of the action, analysing how that distinctive voice allows room for genuine drama without ever fully identifying with it; identity, in fact, is one of the things most troublingly problematized by the political poetics of the ‘Ode’.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.11
Lynn Enterline
This chapter situates Marvell’s lyric interrogations of gender and desire within the discursive and historical parameters of his classicism, paying particular attention to the rhetorical practices of the pedagogical institution in which he first learned to play Latin language games. It demonstrates that the way Marvell repurposes ancient precursors requires us to think rigorously about the terrain his explorations of desire share with non-normative psychoanalytic theory. Like Freud in his most radical moments, Marvell represents ‘love’ as an enigmatic phenomenon requiring further interrogation. The institutional language games at issue in the first half are ekphrasis, exempla, and sententiae—‘unfortunate’ figures for love that anticipate psychoanalytic theories of narcissism and primary masochism. The second half follows Marvell’s talent for prosopopoeia, the Roman practice of inventing voices for ancient characters, as he reimagines inherited narratives about gender and desire in the voice of a pubescent nymph as yet unfamiliar with adult sexual meanings.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.16
H. Wilcox
This chapter investigates the relationship between music and Marvell’s poetry. Beginning with a detailed reading of ‘Music’s Empire’, the discussion then proceeds to consider three main musical qualities of Marvell’s verse. First, the poems are shown to have been written with music in mind, imagining or anticipating the frameworks of melody, harmony, and rhythm for his lyrics and dialogues. Second, the poems celebrate the power of music not only by being rich with musical metaphors but also by being consistently and richly alert to the sense of hearing. Third, the chapter suggests that Marvell’s poems turn to musical ideas as a way of characterizing the profound spiritual and political matters of his lifetime. The chapter ends with an account of some actual musical settings of his verse, drawing on early modern and more recent examples of composers’ interpretative responses to his poems.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.25
Gregory Chaplin
Marvell’s work as an elegist foregrounds his shifting political allegiance during the decade after his return to England. His first two elegies—‘An Elegy Upon the Death of My Lord Francis Villiers’ (1648) and ‘Upon the Death of Lord Hastings’ (1649)—place him in royalist literary circles during the Second Civil War and its immediate aftermath, whereas ‘A Poem upon the Death of his Late Highness the Lord Protector’ (1658‒9) testifies to his service to the Protectorate and personal relationship with Cromwell. In his elegies on Villiers and Hastings, Marvell uncovers the need for the historical and temporal agency that he later assigns to Cromwell in ‘An Horatian Ode’ and ‘The First Anniversary’. The death of Cromwell prompts Marvell to rework material and tropes from these earlier elegies to make sense of this seemingly immortal figure’s sudden mortality and to secure his former patron’s reputation and political legacy.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.2
E. Wilson
This chapter examines Marvell’s education, from his boyhood in Hull through to his student days at Trinity College, Cambridge, to consider how these learning experiences informed the discursive tactics that he used as a poet, politician, and polemicist. Marvell’s father’s manuscript sermonbook (c.1603) bears witness to the poet’s early exposure to Ramist reasoning and discourse, both in his family home and in Hull’s Holy Trinity Church. Logic formed the backbone of early modern discursive training, and in c.1633, Marvell’s education in this field continued at Trinity College, Cambridge. The chapter draws on a range of discursive logic textbooks used by Marvell and his Cantabrigian contemporaries, applying their methods as a new way of understanding Marvell’s style and tactics in his writings, from his polemics in Mr. Smirke to his pastoral poetry.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.9
P. Connell
Marvell’s hostility to the Church of England was a matter of faith for his clerical antagonists during his lifetime, and soon became a central component of his posthumous reputation. The present chapter re-examines this aspect of Marvell’s writings, which are contextualized with reference to the poet’s family background and the broader fortunes of the established Church in the early and mid-seventeenth century. Marvell’s complex and shifting political allegiances during the 1640s and 1650s had significant implications for his views on ecclesiastical settlement, but throughout the interregnal period he remained broadly in favour of a reformed national church establishment, in tacit opposition to the views of godly republicans such as John Milton and Henry Vane. This commitment survived, mutatis mutandis, into the Restoration period, and coloured Marvell’s support for a policy of ecclesiastical comprehension. Only with the king’s abandonment of that policy, and apparent surrender to the forces of intolerance, did Marvell come to identify the corruptions of the Church of England with the threat of arbitrary government on the part of the Stuart court.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.10
N. Keeble, J. Harris
This chapter examines Marvell’s relationship to, and representations of, the nonconformist convictions and practices that refused to comply with the 1662 Act of Uniformity and the ensuing penal religious legislation by which the restored regime sought to re-establish the episcopal Church of England and to outlaw dissent from it. It establishes the Puritan and nonconformist character of his native Hull, his sympathy for nonconformists and corresponding dismay at their persecution, and that he was a key figure in a series of interrelated nonconformist and oppositional networks that worked politically for a greater degree of toleration. In his published works, however, he avoided overt nonconformist partisanship to argue for a moderate, reasonable, and liberal middle way that could accommodate the widest possible range of opinion.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.19
M. Dzelzainis
While few of Marvell’s lyrics can be dated with any precision, critics no longer find it ‘comforting to reflect’, as Frank Kermode did in 1952, ‘that the date of “The Garden” is quite unknown, so that it cannot be positively stated to be the direct record of some personal experience at Nun Appleton’. Recent attempts to reassign some of the poems traditionally associated with the time Marvell spent with the Fairfax family (principally ‘The Garden’ and ‘The Mower against Gardens’) to the Restoration phase of his career have met with mixed success. This chapter accordingly asks what kinds of evidence we can or should bring to bear in addressing the closely related issues of the dating and circulation of Marvell’s writings. The three test cases considered are ‘An Horatian Ode upon Cromwell’s Return from Ireland’, ‘The Garden’, and the anonymous prose piece, ‘An Epitaph upon—’.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.4
A. Hughes
This chapter explores the ambiguities of Marvell’s life from his return to England in 1647 to his service as MP for Hull in 1659‒60. It charts Marvell’s negotiation of the shifting political and patronage contexts of the period, as Marvell moved from royalist networks in the later 1640s to hesitant accommodation with post-regicidal regimes; and discusses his service in the household of Thomas, Lord Fairfax, his appointment as assistant to Milton in the office of John Thurloe, Secretary of State under the Protectorate, and his selection as MP. Marvell’s financial dependency, as well as the broader political context, encouraged a troubled engagement with the problems of patriarchal authority. Marvell’s elusive poetic responses thus illuminate these unsettled and unsettling times, as seen particularly in the ‘First Anniversary’ and ‘A Poem on the Death of his Late Highness’.
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