Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.44
M. O'neill
Influence always leaves a wraith-like path, invisible to one person, transparent to another. The danger of reading-in is evident. This chapter proposes that Marvell’s influence on nineteenth-century poetry is manifold but frequently fugitive, now like centrifugal ripples in a still pond, now a sudden shower of meteors across the night sky. Nigel Smith reminds us that ‘The important point to remember is that Marvell was not unrecognized as a poet until the later nineteenth century, as has often been claimed’. Poets from Wordsworth to Tennyson are studied in relation to the nuanced ambivalence of Marvellian poetry; so too are critics and anthologists; so too is the range of poetic genres affected by Marvell’s influence.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.37
T. Raylor
Marvell’s appropriations, revisions, and corrections of Waller’s panegyrics on the courts of Charles I and II and on the Protector are well known, but reveal only one aspect of the connections between the two writers. The traffic went both ways: not only did Marvell appropriate Waller, Waller also responded to Marvell. And although the tension between them is now typically assigned to ideological opposition, such differences are often amplified by hindsight. The two men certainly clashed over the Second Dutch War, but both appear to have been strong early supporters of the Duke of York’s faction, which promoted the war for national glory and enrichment. The friction between Marvell and Waller may have been in large part the effect of social and institutional proximity, and perhaps involved a degree of resentment on the part of the hard-working younger poet for the apparently effortless success of his senior rival.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.3
N. Maltzahn
Patronage helped shape Marvell’s life and writings. He construes even friendships in terms of his service; moreover, his poetry often seems to confirm social ties. Even so, his lyrics especially resist simple identification as pieces offered by client to patron. This follows in part from his fostering such associations only then not too much to impose on them. Marvell in the course of his career at first sought to escape his local obligations, whatever the benefits of such patronage, only then to revert to those as his mainstay later in his life. With eminent Cromwellians he came to enjoy a lasting rapport, owing to his skilful combination of deference to their piety with displays of his own wit. But in the Restoration, his corporate roles meant this ‘humble servant’ might require less favour than he can seem to ask, with personal obligation yielding to more lasting civic service.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.38
V. Silver
Hobbes and Marvell have more affinities than one, not least in their turn for ecclesiastical satire. Both fashion to their own ends even as they excel at the art the seventeenth century termed ‘personation’—the satirical portrait of a subject that ridicules to the point of caricaturing its target. But until The Rehearsal Transpros’d undertook to personate the Anglican polemicist Samuel Parker, Hobbes’ words had yet to appear on the same page with Marvell’s. It is Parker who plays midwife to this unheralded event, which he does by his attacks on Hobbes and Hobbism, hoping to deflect attention from his own plagiarism of Leviathan’s model of absolute sovereignty. For Marvell’s personation of Parker as ‘Mr. Bayes the Second’—Buckingham’s figure of authorial absurdity in his popular play The Rehearsal—wickedly likens him to the Hobbes of Parker’s personation, making that caricature of Hobbes ‘Mr. Bayes the Third’.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.20
N. Smith
This chapter explores Marvell’s best-known and most esteemed lyric poem ‘To His Coy Mistress’ in the context of the long tradition of carpe diem (‘seize the moment’) poetry, and argues that Marvell does not merely engage in playful parody of this often (especially in Latin) sexually frank genre, but also points to what was understood to be its ultimate origin in the epigrams of the Greek Anthology, still being rediscovered in Marvell’s day, and one in particular by Asclepiades. Marvell was interested in the poetic power of this lyric tradition, acknowledging yet surpassing poetry’s power to describe erotic encounter, shunning associations with alcohol in poetic tradition, in order to imagine a new order of experience that is the sole domain of poetry, connecting sexual climax with awareness of the elemental structure of the universe in time and space; hence new ways of contemplating mortality.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.41
M. Goldie
Marvell exploded upon the public stage in 1673 with his coruscating satire The Rehearsal Transpros’d. This, and everything he wrote until his death in 1678, was provocative, and duly elicited angry—and sometimes witty—responses. His enemies were Anglican churchmen, most strenuously Samuel Parker, who were protective of clerical honour and sacerdotal authority, and defensive of the Church of England’s religious and political monopoly. These critics were joined by secular defenders of Charles II’s cause, notably the prodigious propagandist Roger L’Estrange. Marvell’s tracts and their contestation in the public domain are keys to understanding the formation of Whig and Tory sensibilities. His adversaries, their rhetorical strategies, and readers’ absorption in these print duels are guides to the genres and protocols of contemporary controversy, as well as illuminating the politics of memory, under the shadow of the Civil Wars, the theology of Calvinism in retreat, and the ecclesiology of Restoration Anglicanism.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.14
Matthew C. Augustine
The starting point of this chapter is Marvell’s cautious relationship to publication and publicity generally and to print publication in particular. On what terms or under what conditions was publication through the press to be avoided or pursued? What were the nature of Marvell’s interactions with the various actors, institutions, and technologies of print culture throughout his career? We have a reasonably good idea of Marvell’s intimacy with the world of print as a Restoration politician and polemicist—though his ingenious manipulations of the material form of the book still bear more scrutiny. But we have some way to go in understanding Marvell’s strategic appearances in—and indeed disappearances from—printed works before 1660. For Marvell the MP, secrecy and pseudo-identity belong clearly to the arts of influence; can the same be said for the lyric poet, or is his fragmentary and reluctant identity as a print author part of some other story?
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.12
M. Dzelzainis
While Marvell’s post-Restoration life and writings have been much scrutinized of late, his relation to the nascent scientific culture of the time—largely London-centred and symbolized by the newly founded Royal Society—has been largely overlooked. Important developments in what we (loosely) call science but contemporaries would have termed ‘natural’, ‘new’, or ‘experimental’ philosophy were happening on Marvell’s doorstep, yet the lack of scholarly curiosity about what he made of them is remarkable. The aim of this essay is accordingly to establish that Marvell’s writings were more deeply informed by the activities and findings of the Royal Society than previously thought. Indeed, as the case studies (the nature of effluvia, glassmaking, and comets and divination) will demonstrate, experimental philosophy was a major imaginative resource for him. Indeed, in many respects, there is not that much to choose between a dedicated practitioner of the new experimental philosophy like Boyle and an interested lay observer like Marvell.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.45
S. Matthews
This chapter reviews Marvell’s presence in poetry in English from the early twentieth century down to the present. Beginning with T. S. Eliot’s decisive considerations of Marvell’s significance at the time of the tercentenary of Marvell’s birth, the chapter develops a picture of Marvellian themes which recur thereafter. Eliot’s reflections on Marvell were written as he was working on The Waste Land, and consideration is given to the qualified exploitation of a Marvell-derived ‘wit’ and ‘conceit’ in Eliot’s sequence. The chapter considers the availability of Marvell’s work to writers in this period, from Herbert Grierson’s anthology Metaphysical Lyrics and Poems onwards, to capture the significance of these editions within the writing of such as W. B. Yeats. Having established these complex threads of connection back to Marvell, the chapter then follows them through the work of later poets from Britain, America, Ireland, and the Caribbean including Empson, Ashbery, Gunn, Lowell, Walcott, Hill, Dunn, and Donaghy.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.29
J. Werlin
This chapter argues that Marvell’s ‘Upon Appleton House’ (1651) responds to the reassessment of public and private life in England following the elimination of the court. Whereas for earlier poets the private household had provided a powerful analogy for political rule, for Marvell, writing at the conclusion of the civil wars, domesticity stands in stark opposition to public affairs. Yet Marvell’s vision of a new national landscape raises insistent problems for his own verse, for it is not obvious that poets have a place within its topography. At the centre of the poem, in his descriptions of Nun Appleton’s meadows and woods, he considers this problem in detail in scenes that imagine the vanished court, demonstrating the aesthetic consequences of political change.
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