Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.22
L. Marcus
This enigmatic complaint has been studied in terms of a number of registers: political and ecocritical, relating to the English Civil War and its devastation of the countryside; Ovidian, relating to the Nymph’s desire to be metamorphosed into part of the natural world as a way of monumentalizing and assimilating her grief; ecclesiastical, relating to traditional images of the English Church as a hortus conclusus; and many others. This chapter briefly surveys these various strangs of meaning and then considers an understudied seventeenth-century context that helps tie them together: vitalist materialist thought, which posited an empathic relationship among humans, elements of nature, and even objects like stones, which we now are likely to consider inanimate. Recent vitalist materialist theorists like Bruno Latour and Jane Bennett interpret earlier vitalist ideas as a reaction against Descartes and his violent separation of the human from the non-human, which ruled out the potential for sub-human entities to feel emotion. But long before Descartes, vitalism flourished in England, thanks to Galenic and Paracelsian medicine, the Hermetic Books and Kabbala, and various other sources. In light of vitalist thinking in England at mid-century, Marvell’s poem can be read as a project for keeping the connections between humans and the natural world alive even amidst the wrenching changes alluded to in the poem.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.7
Charles-Édouard Levillain
The purpose of this chapter is to examine Marvell’s attitude to the Low Countries, with a special interest in his Dutch connections. The Low Countries included the Dutch Republic and the Spanish Netherlands, two political and religious entities usually analysed separately in the historiography on the 1660s and 1670s. Marvell’s understanding of the condition of Flanders was based on his personal experience of international politics as well as a wide array of sources, ranging from Protestant and Catholic polemics to parliamentary debates. A combined knowledge of Dutch and Spanish sources is particularly useful in shedding light on the porous border that existed between Protestant and Catholic propaganda when it came to the designation of Louis XIV as Europe’s arch-enemy and aspiring universal monarchy. This article comes as the first attempt to reflect on the existence of a ‘Hapsburg connection’ in Marvell’s work.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.40
R. Hume, A. Marshall
Situating Marvell usefully among the other wits of his age turns out to be difficult. This chapter attempts to answer a broad question: does the context of ‘the wits of the age’ offer any insight into the kind of satirist and polemicist Marvell was? He was a pre-Whig political ally of Buckingham and Rochester, but in terms of satiric aims and modes, he is much more akin to Butler (and Dryden), to whom he was ideologically opposed. In many ways Marvell fits awkwardly in the literary milieu of the Restoration. His serious, polemical satire is civic-minded and ideological (not purely partisan); his work is remote from the defamation, literary squabbles, and venomously personal political satire prominent in Charles II’s England. If we are looking for a helpful context for Marvell’s polemical satire, we should turn not to the great authors of the age, but to the likes of Butler and to the world of anonymous state poems.
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Pub Date : 2019-03-28DOI: 10.1093/OXFORDHB/9780198736400.013.32
M. Dzelzainis, S. Coster
When Mr. Smirke; or, the Divine in Mode appeared in May 1676 it outraged the Anglican establishment. Branded a ‘sheet so seditious and defamatory to Christian Religion’, the authorities moved swiftly to have it suppressed. Yet while Marvell’s authorship was common knowledge, no action was taken against anyone but the publisher, Nathaniel Ponder, who was briefly detained in the Gatehouse. To date there has been no satisfactory scholarly account of the genesis of Mr. Smirke or the puzzling government reaction. This chapter revisits the origins of Mr. Smirke, examining newly discovered archival materials and bibliographical evidence to illuminate the circumstances of its printing and publication, and, with it, Marvell’s seeming immunity. It also reconsiders Marvell’s relationship with Sir Edward Harley and the significance of his Puritan politics by way of underlining the implausibility of the allegation that Marvell was somehow denigrating Christianity in Mr. Smirke.
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Pub Date : 2019-03-28DOI: 10.1093/oxfordhb/9780198736400.013.23
D. Hirst, S. Zwicker
In recent times, Marvell’s lyric poems have been increasingly read with an eye to the social and the topical: the sociabilities of the author, the topicalities of his verse. This essay faces in another direction, suggesting that in poems like ‘The Nymph Complaining’ the topical was a means for Marvell to explore inward matter, an occasion to see the interior life projected into the world. In such lyrics, Marvell discovers two distinct sites of suspension or coming-to-be: tears, in which categories and differences are dissolved; childhood, where the conditions of differentiation that underlie the adult order are suspended or elided. The poet’s fascination with the figure of the child reveals a preoccupation with a pre-sexual state altogether congruent with the primal oneness imagined in the ‘Mower’ poems and ‘The Garden’ and adventured so achingly in ‘The Nymph Complaining’. Such a reading as we propose uncovers the strange and compelling fit of the ontological and the psychological in Marvell’s work.
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Pub Date : 2019-03-14DOI: 10.1093/oxfordhb/9780198736400.013.27
Warren Chernaik
In The Rehearsal Transpros’d, Marvell characterized his approach to satire as being ‘merry and angry’ at once. Though politically opposed, Marvell shared John Dryden’s conviction that ‘the true end of Satyre, is the amendment of Vices by correction’—the satirist resembled a physician who prescribes ‘harsh Remedies to an inveterate Disease’. But where Dryden claims in the Preface to Absalom and Achitophel to be addressing ‘the more Moderate sort’, Marvell in ‘Last Instruction to a Painter’ (at nearly 1,000 lines, his longest poem) is openly partisan and controversially subverts the conventions of the royalist panegyric and portrait paintings, products of a court society excoriated by his friend John Milton as full of ‘flatteries and prostrations’. Marvell insistently links sexual and political corruption, vividly depicting a world in which appetite alone rules. Though deeply critical of Charles II as the fount of corruption in the sick state, its stance, rather than being openly republican, is to offer counsel to the King, in the hope that he is not yet beyond reform.
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Pub Date : 2019-03-14DOI: 10.1093/oxfordhb/9780198736400.013.15
Katherine O. Acheson
Marvell’s poetry is distinguished by its preoccupation with forms, practices, and theories of the visual and plastic arts. Among the many fields of visual culture in which Marvell’s imagination played is that of print itself. This chapter focuses on visual features of print that might contribute to our understanding of Marvell’s identity as a poet within the culture in which his work circulated. First, the chapter considers Marvell’s early printed elegies and commendatory verses and how their layout represents the early modern poet in print. Second, the chapter considers the frontispiece portrait of Marvell printed in Miscellaneous Poems in the context of seventeenth-century portraits of poets and in relation to critical reception of his work in more recent times. The chapter demonstrates how visual evidence can lead to deeper understanding of how poets imagined themselves and their work in relation to their audiences, their genres and modes, and their peers.
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Pub Date : 2019-03-14DOI: 10.1093/oxfordhb/9780198736400.013.39
John Rogers
This chapter begins by reviewing the relationship between Milton and Marvell, but is devoted more expansively to their literary and intellectual ties. It examines the presence of Milton in Marvell’s pastoral poetry of the early 1650s where Marvell engages with the ‘Nativity Ode’, Comus, and ‘Lycidas’ but avoids reproducing the prophetic quality of Milton’s voice, hedging his allusiveness with delicate irony. The chapter also examines Marvell’s later engagement with Milton’s tolerationist treatises. Like Milton, Marvell is shaped by recent heterodox positions, but steers away from the boldness of the Miltonic vision. Where Milton asks the state to tolerate a variety of fully independent churches and religions, Marvell clings to the more conservative hope that the Church of England will merely include, or ‘comprehend’, a wider range of beliefs and believers. A political realist and a literary ironist, Marvell distances himself from the political idealism and prophetic literariness of Milton.
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Pub Date : 2019-03-14DOI: 10.1093/oxfordhb/9780198736400.013.17
Sean Mcdowell
After his return to London from his Continental travels in the 1640s, Andrew Marvell comported himself as an avowed Londoner, deeply focused on politics, diplomacy, and the hurly-burly of everyday life in the capital. Indeed, life in the capital powerfully shaped his literary expression. The booming coffee-house culture informed his approach to raillery and animadversion. Popular Restoration plays inspired his controversialist prose. And specific sensational events, news items, or public works occasioned much of his satirical verse. Through layers of allusion and resonance arising from these various contexts, Marvell’s later writings provide an impressionistic portrayal of urban London, the vibrancy of which animated Marvell’s imagination during the last eighteen years of his life.
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Pub Date : 2016-09-01DOI: 10.1093/oxfordhb/9780198736400.013.34
T. Lockwood
This chapter explores the meaning and varieties of praise and dispraise in Marvell’s relationship with Ben Jonson. The chapter offers readings of Marvell’s engagements with Jonson in his lyric verse, in ‘Tom May’s Death’, and in some of his later prose and poetry, including ‘On Mr Milton’s Paradise Lost’. Exploring the different ways in which Marvell may have encountered Jonson’s poems and plays in manuscript, in print, and in the theatre, this chapter investigates, and considers at its close, what T. S. Eliot in 1921 called ‘the vast and penetrating influence of Ben Jonson’ on Marvell.
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