Pub Date : 1900-01-01DOI: 10.1093/OXFORDHB/9780198736400.013.35
J. Loxley
Marvell’s relationship to Cavalier poetry has been a significant topic of interest for critics of his work, promising as it does to shed some light on both his place within the genres and styles of mid-seventeenth-century verse and on the complexities of political positioning evident in his earlier work. But Cavalier poetry is itself a complex and non-uniform category, with such complexities evident both in the difficulties of organizing and applying such a label to a group of poets and their work, and in the problems of accommodating significant differences and antagonisms between varying modes of Cavalier writing. In line with this understanding, this chapter explores Marvell’s poetic relationship to his Cavalier contemporaries in a way which recognizes that they can’t easily be comprehended as a fixed point of reference with which to measure Marvell’s own place in the poetic landscape of the time.
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Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780198736400.013.28
E. Haan
This chapter analyses the linguistic ingenuity of Marvell’s Latin poetry, in which, it is argued, a pseudo-Lucretian sensitivity to the parallelism between the structure of Latin words and the structure of the world coexists with a linguistic methodology that approximates the Marinesque. Etymological play and bilingual punning enables the neo-Latin poetic text to serve both as a microcosm of the literary contexts in which these devices are employed, and as a reinvention of the artifice, extravagant conceits, and baroque wit of Marinism. The result is a neo-Latin ‘echoing song’ that is both intra- and intertextual. Through bilingual punning and phonological wit Marvell plays with a classical language only to demonstrate its transformative potential. The chapter concludes by discussing the labyrinthine punning and sense of displacement in Hortus in relation to the garden sections of Marino’s L’Adone, in which an extravagantly luscious setting ultimately confounds the senses.
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