Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.5
P. Seaward
Andrew Marvell represented Hull in Parliament for more than eighteen years. The record of his actual activity in Parliament is slight, and his political importance can, as a result, seem slight, at least compared to his significance as a satirist. Yet as well as his well-documented behind-the-scenes activity on behalf of Hull, Marvell’s parliamentary record can be interpreted as that of a very important fixer and strategist on behalf of the ‘Presbyterians’ in the Commons, a group which he did much to define and possibly also to call into existence. Analysis of Marvell’s ‘Last Instructions to a Painter’ suggests that it may be not just a polemical and satirical description of a debate, but also intended as a means of rallying some of the disparate elements of an opposition to the court. It, and Marvell’s other political writings, emphasize how central Parliament was to his thought.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.31
Alex Garganigo
In his exuberant bestseller The Rehearsal Transpros’d (1672‒3), Marvell deploys Menippean satire to parry Samuel Parker’s bullying intolerance and lobby Parliament to extend the royal indulgence for Dissenters. This chapter traces Marvell’s debts to the Menippean tradition with its many voices, identifying within that tradition a ‘conciliar’ strain that values group decision-making in councils and thus consensus and conciliation. Gleefully mingling verse and prose, jest and earnest, high and low, drama and religion, the oral and the written, ad hominem and general attacks, Marvell allows the genre’s characteristic heterogeneity to underscore the value of religious and political pluralism.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.13
P. Davis
This chapter explores the significances of the medium of manuscript for Marvell. It uncovers links between his self-formation and conduct as a scribal poet, and a set of questions and dilemmas long recognized as definitive in his work, those surrounding integrity and retreat. In Marvell’s imaginary, the wish to ‘circumscribe’ oneself in a private or transcendent world was always, in some measure, a scribal ideal or fantasy. To assess Marvell’s relations with ‘manuscript culture’, then, is not merely to document his involvements with particular scribal communities, or the varying extent of the scribal publication of his verse at different points in his career, but to plot those aspects of his practice against his lifelong preoccupation with privacy as an object of desire.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.1
N. Maltzahn
Marvell was by birth implicated in an English colonial project—the centralizing dominion over the regions—that prepared him well for national and international service. His lasting ties to his native Yorkshire (especially Hull) let him long represent centre to periphery, and periphery to centre, whether in politics or in poetry. After an education capped by service as travelling tutor on the Continent, Marvell returned in the late 1640s to an England still in the toils of revolution. Over the next decade he worked his way ever nearer the House of Cromwell. First elected as Cromwellian placeman in 1659, Marvell continued as MP until his death in 1678. His institutional service is much more fully documented than his well-guarded private life. But the complexity of his lyrics informs the complexity not only of his works as satirist and controversialist but also his busy London career and his voyaging on embassy.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.18
Edward Paleit
This chapter tries to isolate what is distinctive about Marvell’s lyric voice, by examining his comparisons with classical history and literature. It argues that his poetry is both reassured and repelled by ideas of decorum and resemblance, especially in relation to poetic ‘wit’, a category his verse regularly identifies with political prudence. This dividedness is demonstrated by exploring Marvell’s running obsession with classical architectural motifs and his fascination with the problematics of translation and pastoral figuration. It is partly derived, the chapter argues, from a heightened sense of contemporary historical rupture, and the pressures which civil war, regicide, and Protectorate placed on timely (that is, historically decorous) action or utterance. But it is also, it suggests, linked to more personal fears of alienation and self-exposure.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.33
K. Packham
This chapter takes a fresh look at the formal and rhetorical techniques of a text that played a key role in Marvell’s reputation, An Account of the Growth of Popery and Arbitrary Government. Re-examining Marvell’s engagement with and contribution to political print culture, the chapter considers the Account’s connections with an earlier product of this culture—the ‘Parliamentarian’ history of John Rushworth—and how, in satirizing the Cavalier Parliament as an agent of ‘arbitrary government’, the Account made contact with a genre of ‘election literature’ which also exposed ‘affairs of state’ to wider scrutiny. Moving on to reconsider Marvell’s treatment of Catholicism, the chapter reviews new evidence for the Account’s afterlife in officially ‘anti-Catholic’ England, and suggests that this ‘anti-popery’ work offers a window onto a society in which different discourses about ‘the Catholic’ circulated openly, and could be adopted in response to particular political conditions.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.30
Johanna Harris
Marvell’s letters to friends reveal far more than the ‘gazetteering’ tones of his allegedly ‘colourless’ corporation letters. They are exceptional for their candidness, their intimations of Marvell’s religious and political sympathies, and their warmth. They are epistulae ad familiares, ‘letters to friends’, in the fullest Ciceronian sense of the term ‘familiar’, further demonstrating Marvell’s propensity for colourful adversarial exchange. They also function as a private rehearsal space for Marvell’s coded, politically charged wit. The primary focus of this essay is Marvell’s six extant letters to Sir Edward Harley, in the contexts of The Rehearsal Transpros’d (1672) and Mr. Smirke: Or, The Divine in Mode (1676).
马维尔给朋友的信比他所谓的“毫无色彩”的公司信件所透露的要多得多。他们的坦率，他们对马维尔的宗教和政治同情的暗示，以及他们的温暖都是与众不同的。它们是epistulae and families，“给朋友的信”，完全是西塞罗式的“熟悉”一词，进一步证明了马维尔对丰富多彩的对抗性交流的倾向。它们还可以作为漫威的私人排练空间，让漫威的编码、充满政治色彩的智慧得以施展。本文的主要焦点是马维尔写给爱德华·哈雷爵士的六封现存的信，分别在1672年的《排练传》(The Rehearsal Transpros)和1676年的《斯默克先生》(Mr. Smirke: Or, The Divine in Mode)中。
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.42
Diane Purkiss
This chapter examines one of the most important manuscripts connected with Andrew Marvell: Bodleian Library Eng. Poet d.49, a hybrid manuscript which has influenced many editors. It argues that interpretation of this manuscript has been controversial because many interpreters have failed to notice the way in which it has been subject to a variety of reframings and repurposings. The result, the chapter argues, is that its identity has been layered, with a miscellany imposed upon what was originally a corrected and amplified version of the printed sheets of Marvell’s 1681 Miscellaneous Poems. It also argues that the original purpose of the manuscript can still be usefully discerned beneath the layers. The chapter also discusses a number of other Marvell manuscripts.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.6
Edward Holberton
This chapter examines Marvell’s diplomatic career, with a particular focus on his role as secretary to the Earl of Carlisle’s 1663 embassy to Muscovy, Sweden, and Denmark. Modern accounts of the embassy have tended to represent it as a failure, which can be blamed partly on the haughtiness of speeches and letters written by Marvell and presented by Carlisle. The chapter discusses what constituted success and failure in the wider context of European diplomacy at this time, and asks whether Marvell might not have been judged too harshly. It explores the importance of contests over ceremony in early modern diplomacy, and argues that Marvell and Carlisle put together rhetorical performances of considerable skill and resourcefulness in the context of these contests. The speeches and papers written by Marvell in Muscovy throw into relief affinities between poetic and diplomatic forms of representation, particularly around the figure of prosopopoeia. The chapter ends by looking at Marvell’s continued interest in this figure following the end of his diplomatic career, and his ongoing aptitude for ventriloquizing royalty.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.43
Annabel M. Patterson
When Emile Legouis memorably entitled his biography André Marvell, Poète, Puritan, Patriote, 1621‒78 (1928), he began a tradition since honoured more by silence than discussion. It is the first of the three terms that has generated Marvell’s reputation. Everybody wants to write about Marvell as a poet; ‘Puritan’ proved an oversimplification for the man who defended nonconformists by non-doctrinal arguments; and ‘Patriot’, the term that now revived, was largely dismissed. This chapter attends to the afterlife of the Account of the Growth of Popery and Arbitrary Government, on which Marvell’s reputation as a ‘Patriot’ was based. This involves not only its immediate reception, but those who brought it back to public attention: Thomas Cooke; Captain Edward Thompson, who built on Cooke’s 1726 edition; and the almost unknown tributes of James Ralph’s 1745 History of England and his notes to the parliamentary history we know as Grey’s Debates.
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