While 'Upon Appleton House' foregrounds the poet's actions and physical engagements with the estate, the poem itself us thoroughly woven from contemporary and classical intertexts. As such, it presents as both immediate animation and as a work of intricate process. This division enables much of the poem's play with semblance and deception, which repeatedly draws attention to the act of reading imaginatively. To explore how the poem's textual duality bespeaks aesthetic process, this article closely examines two scenes of leisure that prove to enact the poet's hunting of the reader: as an angler and as a fowler using bird lime. Aware of the poet's game and relentlessly pursuing his shifts, we uncover in form the unfolding of Marvell's body.
{"title":"Hunting the Hunter","authors":"Brendan M. Prawdzik","doi":"10.16995/marv.8176","DOIUrl":"https://doi.org/10.16995/marv.8176","url":null,"abstract":"While 'Upon Appleton House' foregrounds the poet's actions and physical engagements with the estate, the poem itself us thoroughly woven from contemporary and classical intertexts. As such, it presents as both immediate animation and as a work of intricate process. This division enables much of the poem's play with semblance and deception, which repeatedly draws attention to the act of reading imaginatively. To explore how the poem's textual duality bespeaks aesthetic process, this article closely examines two scenes of leisure that prove to enact the poet's hunting of the reader: as an angler and as a fowler using bird lime. Aware of the poet's game and relentlessly pursuing his shifts, we uncover in form the unfolding of Marvell's body.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126348246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Taking stanza two of Andrew Marvell’s “Mourning” as its focus, this essay argues that, within the poem’s multiple and intermingled readings of the mourner’s weeping, her tears fall in and out of figuration, as countervailing hydrologies of grace and carnality exploit their state changes between charged image and mere water. Against the speaker’s conclusion that the meaning of women’s tears can be supposed but is finally unknowable, the poem proposes a masturbatory heresy of self-sufficiency and multiplicity.
{"title":"Confused Tears","authors":"Diana C Wise","doi":"10.16995/marv.8845","DOIUrl":"https://doi.org/10.16995/marv.8845","url":null,"abstract":"Taking stanza two of Andrew Marvell’s “Mourning” as its focus, this essay argues that, within the poem’s multiple and intermingled readings of the mourner’s weeping, her tears fall in and out of figuration, as countervailing hydrologies of grace and carnality exploit their state changes between charged image and mere water. Against the speaker’s conclusion that the meaning of women’s tears can be supposed but is finally unknowable, the poem proposes a masturbatory heresy of self-sufficiency and multiplicity.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"173 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129944514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous criticism of Marvell’s “Mourning” has not only ignored the narrator’s invocation of “Indian slaves,” but has in most cases actually erased it. This essay explores the consequences of that erasure for our understanding of the poem and its place in the history of colonialism and race-making.
{"title":"White tears and Indian slaves in Marvell’s “Mourning”","authors":"B. Greteman","doi":"10.16995/marv.8769","DOIUrl":"https://doi.org/10.16995/marv.8769","url":null,"abstract":"Previous criticism of Marvell’s “Mourning” has not only ignored the narrator’s invocation of “Indian slaves,” but has in most cases actually erased it. This essay explores the consequences of that erasure for our understanding of the poem and its place in the history of colonialism and race-making. ","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132354678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrew Marvell has several poems about “mourning” to his credit, most notably his funeral elegies for Francis Villiers, Henry Hastings, and Oliver Cromwell, which memorialize the deceased by deploying tropes of bereavement, grief, and consolation––that is, the stuff of elegy. Curiously, his short lyric “Mourning,” while likewise steeped in elegiac signifiers, scarcely traffics in the work of mourning. Instead, the poem acknowledges an alternative paradigm of mourning, shaped not by a psychoanalytic narrative of loss and restitution but by visually arresting permutations of the tear. The work of “Mourning,” thus rendered, is to measure the sincerity of a woman’s grief based on the quality of her tears, the volume and opacity of which make this work often seem a fool’s errand. In this paper I suggest that modern and contemporary discourses of memorial and elegy, which are marked chiefly by resistance to the consolatory imperative, may serve as a useful framework for seeing how Marvell treats the situation of grief in “Mourning”. Specifically, I look to the concept of “anti-mourning” as developed by the art historian Margaret Iversen, who in turn bases her formulation on Roland Barthes’s photographic theory of the studium and punctum. Anti-mourning, in its stress on leaving open the wound of melancholia, on resisting figurative and compensatory consolations, has useful implications for Marvell’s poem. It can help us understand the poem not as a case study in hermeneutic futility––or worse, casual misogyny––but rather as a pointed, elegant critique of the symbolic order of elegy.
{"title":"Marvell Against Mourning","authors":"Kevin Laam","doi":"10.16995/marv.8341","DOIUrl":"https://doi.org/10.16995/marv.8341","url":null,"abstract":"Andrew Marvell has several poems about “mourning” to his credit, most notably his funeral elegies for Francis Villiers, Henry Hastings, and Oliver Cromwell, which memorialize the deceased by deploying tropes of bereavement, grief, and consolation––that is, the stuff of elegy. Curiously, his short lyric “Mourning,” while likewise steeped in elegiac signifiers, scarcely traffics in the work of mourning. Instead, the poem acknowledges an alternative paradigm of mourning, shaped not by a psychoanalytic narrative of loss and restitution but by visually arresting permutations of the tear. The work of “Mourning,” thus rendered, is to measure the sincerity of a woman’s grief based on the quality of her tears, the volume and opacity of which make this work often seem a fool’s errand. In this paper I suggest that modern and contemporary discourses of memorial and elegy, which are marked chiefly by resistance to the consolatory imperative, may serve as a useful framework for seeing how Marvell treats the situation of grief in “Mourning”. Specifically, I look to the concept of “anti-mourning” as developed by the art historian Margaret Iversen, who in turn bases her formulation on Roland Barthes’s photographic theory of the studium and punctum. Anti-mourning, in its stress on leaving open the wound of melancholia, on resisting figurative and compensatory consolations, has useful implications for Marvell’s poem. It can help us understand the poem not as a case study in hermeneutic futility––or worse, casual misogyny––but rather as a pointed, elegant critique of the symbolic order of elegy.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121885213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Definitively reading the Chlora of Marvell’s “Mourning” as Mary Kirke, the married mistress of Francis Villiers, this essay utilizes Marvell’s depiction of Kirke in “A Poem Upon the Death of My Lord Francis Villiers” as an intertext for “Mourning.” Focusing on the turn from mourning to rejoicing in both poems, it shows how Marvell’s critique of Cavalier joy in the Villiers elegy, exposing its violent narcissism and incoherent amorousness, informs a similar critique in “Mourning,” made through the figure of a weeping Chlora-Kirke. As I argue, the poem critiques the Cavalier ethos by having male observers project onto the lachrymose Chlora-Kirke their own notion of lusty joy, which had lost its pretensions to military glory by 1648. Such an argument reveals the misogynistic paradox at the heart of the Cavalier ethos: adulterous relations are valorized, but women’s tears are compulsively scrutinized, so Cavalier mistresses are unable to mourn the death of their lovers even as the culture makes it seem possible. The essay concludes by suggesting that Marvell’s depiction of Chlora-Kirke’s tears in “Mourning” informs the poet’s experiments with the gendered dynamics of weeping in his Commonwealth encomia, including “Upon Appleton House” and “The First Anniversary of the Government Under His Highness the Lord Protector,” as he grows tired of negatively associating women with weeping.
{"title":"\"Mourning\" and the Gender Politics of Cavalier Joy","authors":"Stephen Spencer","doi":"10.16995/marv.8566","DOIUrl":"https://doi.org/10.16995/marv.8566","url":null,"abstract":"Definitively reading the Chlora of Marvell’s “Mourning” as Mary Kirke, the married mistress of Francis Villiers, this essay utilizes Marvell’s depiction of Kirke in “A Poem Upon the Death of My Lord Francis Villiers” as an intertext for “Mourning.” Focusing on the turn from mourning to rejoicing in both poems, it shows how Marvell’s critique of Cavalier joy in the Villiers elegy, exposing its violent narcissism and incoherent amorousness, informs a similar critique in “Mourning,” made through the figure of a weeping Chlora-Kirke. As I argue, the poem critiques the Cavalier ethos by having male observers project onto the lachrymose Chlora-Kirke their own notion of lusty joy, which had lost its pretensions to military glory by 1648. Such an argument reveals the misogynistic paradox at the heart of the Cavalier ethos: adulterous relations are valorized, but women’s tears are compulsively scrutinized, so Cavalier mistresses are unable to mourn the death of their lovers even as the culture makes it seem possible. The essay concludes by suggesting that Marvell’s depiction of Chlora-Kirke’s tears in “Mourning” informs the poet’s experiments with the gendered dynamics of weeping in his Commonwealth encomia, including “Upon Appleton House” and “The First Anniversary of the Government Under His Highness the Lord Protector,” as he grows tired of negatively associating women with weeping.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131180572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An unidentified Latin verse quotation in Mr. Smirke proves to derive from John Barclay’s Satyricon (1607). This discovery resolves what had seemed a textual crux in the standard edition of Mr. Smirke. It also invites review of how Marvell deploys this material for his present purpose, what confessional considerations arise from the Catholic Barclay’s contribution, and whether Barclay’s example as a Menippean satirist informs Marvell’s successes in this kind.
{"title":"Andrew Marvell and John Barclay's Satyricon","authors":"Nicholas von Maltzahn","doi":"10.16995/marv.8616","DOIUrl":"https://doi.org/10.16995/marv.8616","url":null,"abstract":"An unidentified Latin verse quotation in Mr. Smirke proves to derive from John Barclay’s Satyricon (1607). This discovery resolves what had seemed a textual crux in the standard edition of Mr. Smirke. It also invites review of how Marvell deploys this material for his present purpose, what confessional considerations arise from the Catholic Barclay’s contribution, and whether Barclay’s example as a Menippean satirist informs Marvell’s successes in this kind.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130528496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The signature scene shifts, pastoral settings, and perspectival instabilities of Andrew Marvell’s Upon Appleton House squarely align the poem with the theatrical tradition of the court masque, a tradition that was effectively moribund at the at the time of the poem’s composition in 1651. The influence of the masque on Upon Appleton House (and other Marvell works) has been widely noted, but the significance of his poem in the longer history of English theater––specifically, in the discourse of theatrical reform––has not been fully considered. In Upon Appleton House, Marvell not only applies the strategies and techniques of the masque, but he also engages with ideas central to the ongoing debate between opponents and defenders of the stage. As such, his poem anticipates the reforms and innovations attempted by William Davenant, Richard Flecknoe, and others who campaigned to revive theater in Interregnum England. However, Marvell’s appropriation of masque theatrics is not tethered to the goals of reform. His poem is distinctly the product of the post-regicide, pre-Protectorate imagination, when the theaters are shuttered, dramatic performance is driven underground, and the fate of the commonwealth is precarious. Accordingly, his method is not to establish a mode of theater palatable to republican interests, but instead to defamiliarize theatrical representation in a way that responds to the uncertainty of the moment.
{"title":"Theater Reform and the Masque in Marvell's Upon Appleton House","authors":"Kevin Laam","doi":"10.16995/marv.4808","DOIUrl":"https://doi.org/10.16995/marv.4808","url":null,"abstract":"The signature scene shifts, pastoral settings, and perspectival instabilities of Andrew Marvell’s Upon Appleton House squarely align the poem with the theatrical tradition of the court masque, a tradition that was effectively moribund at the at the time of the poem’s composition in 1651. The influence of the masque on Upon Appleton House (and other Marvell works) has been widely noted, but the significance of his poem in the longer history of English theater––specifically, in the discourse of theatrical reform––has not been fully considered. In Upon Appleton House, Marvell not only applies the strategies and techniques of the masque, but he also engages with ideas central to the ongoing debate between opponents and defenders of the stage. As such, his poem anticipates the reforms and innovations attempted by William Davenant, Richard Flecknoe, and others who campaigned to revive theater in Interregnum England. However, Marvell’s appropriation of masque theatrics is not tethered to the goals of reform. His poem is distinctly the product of the post-regicide, pre-Protectorate imagination, when the theaters are shuttered, dramatic performance is driven underground, and the fate of the commonwealth is precarious. Accordingly, his method is not to establish a mode of theater palatable to republican interests, but instead to defamiliarize theatrical representation in a way that responds to the uncertainty of the moment.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130763146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Christopher D’Addario and Matthew C. Augustine, eds., Texts and Readers in the Age of Marvell","authors":"N. McDowell","doi":"10.16995/marv.6477","DOIUrl":"https://doi.org/10.16995/marv.6477","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"172 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114816510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Matthew C. Augustine’s Aesthetics of Contingency","authors":"J. Harris","doi":"10.16995/marv.6476","DOIUrl":"https://doi.org/10.16995/marv.6476","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128534861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Matthew C. Augustine, Andrew Marvell: A Literary Life","authors":"Gregory Chaplin","doi":"10.16995/marv.6364","DOIUrl":"https://doi.org/10.16995/marv.6364","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122783536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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