This article attempts to define Marvell’s allusions and offers six characteristic features of his allusivity to do so: indirectness, similitude, denaturalization/adaptation, ironic contrast, criticism, and meaningfulness. Based on these features, the article maintains that the allusion is a particularly intellective, intricate, and intentional category of Marvellian intertextuality. It compares these qualities with the Marvellian echo, whose dubious intentionality, greater visibility, and shallower meaning markedly contrast with the allusion. While the moment of readerly recognition frequently exhausts the meaning of an echo, allusions contain depths that readers must laboriously sound. In short, the article attempts to introduce more precision and accuracy into a body of scholarship that frequently treats Marvell’s echoes and allusions as interchangeable.
{"title":"Marvell’s Allusions","authors":"Patrick J. McGrath","doi":"10.16995/MS.45","DOIUrl":"https://doi.org/10.16995/MS.45","url":null,"abstract":"This article attempts to define Marvell’s allusions and offers six characteristic features of his allusivity to do so: indirectness, similitude, denaturalization/adaptation, ironic contrast, criticism, and meaningfulness. Based on these features, the article maintains that the allusion is a particularly intellective, intricate, and intentional category of Marvellian intertextuality. It compares these qualities with the Marvellian echo, whose dubious intentionality, greater visibility, and shallower meaning markedly contrast with the allusion. While the moment of readerly recognition frequently exhausts the meaning of an echo, allusions contain depths that readers must laboriously sound. In short, the article attempts to introduce more precision and accuracy into a body of scholarship that frequently treats Marvell’s echoes and allusions as interchangeable.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129233504","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}
When read alongside Diotima’s Ladder of Love, recounted in the Symposium, Marvell’s mower poems and ‘The Definition of Love’ seem to be deeply political works. They do not, however, appear to take deeply political positions. They situate their speakers and characters in terms comparable to the Ladder of Love. In so doing, they show a Christian humanist use of love that accounts for Marvell’s neutral wit. Our poet created mirrors for gentry in republican England that encouraged the creation and maintenance of networks based on love. His focus moves away from national politics toward county life and the need to move past the parliamentary-royalist divide. In short, by reading these four poems beside the Ladder of Love, we better understand how Marvell manages to be political without clearly expressing his religious or political positions.
{"title":"Diotima’s Scaffolding: Marvell’s Politics and the Neoplatonic View of Love in the Mower Poems and ‘The Definition of Love’","authors":"A. Strömbergsson-DeNora","doi":"10.16995/ms.41","DOIUrl":"https://doi.org/10.16995/ms.41","url":null,"abstract":"When read alongside Diotima’s Ladder of Love, recounted in the Symposium, Marvell’s mower poems and ‘The Definition of Love’ seem to be deeply political works. They do not, however, appear to take deeply political positions. They situate their speakers and characters in terms comparable to the Ladder of Love. In so doing, they show a Christian humanist use of love that accounts for Marvell’s neutral wit. Our poet created mirrors for gentry in republican England that encouraged the creation and maintenance of networks based on love. His focus moves away from national politics toward county life and the need to move past the parliamentary-royalist divide. In short, by reading these four poems beside the Ladder of Love, we better understand how Marvell manages to be political without clearly expressing his religious or political positions.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129642396","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}
Recent work has illuminated the spiritual, eschatological, and gender dynamics of Marvell’s poetry of tears, but the politics of Marvellian weeping have yet to be tackled. Contextualizing the Cromwell encomia (‘The First Anniversary of the Government under His Highness the Lord Protector’ and ‘A Poem upon the Death of his Late Highness the Lord Protector’) amidst the man’s proclivity for weeping, this essay argues that Marvell poetically employs tears not just to embrace the vulnerability of the Lord Protector at the center of England’s new political settlement; he also attempts to bind moderate yet impassioned allies around a bourgeois Protestantism. The essay begins with a reading of ‘Eyes and Tears’ to establish the religious, economic, and ornamental dimensions of Marvellian weeping. ‘The First Anniversary’ echoes the aspect of luxurious display central to Marvell’s bourgeois Protestantism in ‘Eyes and Tears’, but it adds an emphasis on domestic productivity to suggest that private weeping can be publically beneficial. In this way, Marvell can speak to Cromwell as a well-known practitioner of weeping while also speaking to, and as, an audience of bourgeois Protestants, for whom religious devotion and economic productivity are mutually reinforcing endeavors. The essay concludes with a theoretical reflection on Marvellian weeping as affective politics, in which the externalization of internal emotion attempts to forge community. Ultimately, the affective politics of Marvellian weeping consists in publicizing private piety without forfeiting the sanctity of private life altogether.
{"title":"Like Skillful Looms: Marvell, Cromwell, and the Politics of Weeping","authors":"Stephen Spencer","doi":"10.16995/ms.35","DOIUrl":"https://doi.org/10.16995/ms.35","url":null,"abstract":"Recent work has illuminated the spiritual, eschatological, and gender dynamics of Marvell’s poetry of tears, but the politics of Marvellian weeping have yet to be tackled. Contextualizing the Cromwell encomia (‘The First Anniversary of the Government under His Highness the Lord Protector’ and ‘A Poem upon the Death of his Late Highness the Lord Protector’) amidst the man’s proclivity for weeping, this essay argues that Marvell poetically employs tears not just to embrace the vulnerability of the Lord Protector at the center of England’s new political settlement; he also attempts to bind moderate yet impassioned allies around a bourgeois Protestantism. The essay begins with a reading of ‘Eyes and Tears’ to establish the religious, economic, and ornamental dimensions of Marvellian weeping. ‘The First Anniversary’ echoes the aspect of luxurious display central to Marvell’s bourgeois Protestantism in ‘Eyes and Tears’, but it adds an emphasis on domestic productivity to suggest that private weeping can be publically beneficial. In this way, Marvell can speak to Cromwell as a well-known practitioner of weeping while also speaking to, and as, an audience of bourgeois Protestants, for whom religious devotion and economic productivity are mutually reinforcing endeavors. The essay concludes with a theoretical reflection on Marvellian weeping as affective politics, in which the externalization of internal emotion attempts to forge community. Ultimately, the affective politics of Marvellian weeping consists in publicizing private piety without forfeiting the sanctity of private life altogether.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131519537","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 Alex Garganigo, Samson’s Cords: Imposing Oaths in Milton, Marvell, and Butler","authors":"S. Coster","doi":"10.16995/MS.39","DOIUrl":"https://doi.org/10.16995/MS.39","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131965443","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 Brendan Prawdzik’s Theatrical Milton: The Primacy of Perception","authors":"David Marno","doi":"10.16995/MS.36","DOIUrl":"https://doi.org/10.16995/MS.36","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124689684","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}
This essay explores the peculiar erotics of the material world in Andrew Marvell’s country house poem. The discussion builds upon previous scholarship regarding the role of sexuality in this text in order to offer new directions for interpretation by combining recent approaches from queer theory with those of the new materialism. The essay finds that the trope of mirroring subtends the poem and that tracing the operations of reflection allows us to draw linkages between the personified landscape’s ruins of a highly sexualized nunnery and the humans who await personal contact and long for the pleasure of connection. The analysis here dwells particularly on the speaker’s role in relation to the physical environment and how that interrelationship might fuel the erotic excitement explored in ‘Upon Appleton House’. The poem’s culminating fantasy ultimately allows the speaker to lose his position as a subject and instead feel what it is like to be an object—not just an object of desire but a material object. To better understand the speaker’s experience of desire in the absence of another subject, the essay draws our attention to his desire to take on the qualities of the natural environment, which is described in terms of the mirror. I ultimately argue that the speaker’s desire to be rendered an object relies on the notion that estrangement offers a potent experience that heightens erotic pleasure.
{"title":"Eros and Objecthood in ‘Upon Appleton House’","authors":"John S. Garrison","doi":"10.16995/MS.28","DOIUrl":"https://doi.org/10.16995/MS.28","url":null,"abstract":"This essay explores the peculiar erotics of the material world in Andrew Marvell’s country house poem. The discussion builds upon previous scholarship regarding the role of sexuality in this text in order to offer new directions for interpretation by combining recent approaches from queer theory with those of the new materialism. The essay finds that the trope of mirroring subtends the poem and that tracing the operations of reflection allows us to draw linkages between the personified landscape’s ruins of a highly sexualized nunnery and the humans who await personal contact and long for the pleasure of connection. The analysis here dwells particularly on the speaker’s role in relation to the physical environment and how that interrelationship might fuel the erotic excitement explored in ‘Upon Appleton House’. The poem’s culminating fantasy ultimately allows the speaker to lose his position as a subject and instead feel what it is like to be an object—not just an object of desire but a material object. To better understand the speaker’s experience of desire in the absence of another subject, the essay draws our attention to his desire to take on the qualities of the natural environment, which is described in terms of the mirror. I ultimately argue that the speaker’s desire to be rendered an object relies on the notion that estrangement offers a potent experience that heightens erotic pleasure.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130686140","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":"Introduction: Theory, Practice, and Critical Agency in Andrew Marvell’s Poetry","authors":"Ben Labreche, Ryan Netzley","doi":"10.16995/MS.37","DOIUrl":"https://doi.org/10.16995/MS.37","url":null,"abstract":"","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127078747","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}
This essay reads Marvell’s mower poems and ‘The Garden’ as case studies in the ethics of vulnerability that collectively work to illuminate a potential for joyful connection—with people, but also with the natural world—in the practice of critique, which otherwise has a melancholic potential for over-identifying with its object. Whereas vulnerability commonly denotes susceptibility to harm, this essay builds on the work of Erinn Gilson to show that vulnerability is ontological, a shared feature of human existence that makes both harm and connection possible. Vulnerability figures in the poems through the relationships they depict: between the mower and himself, Juliana, and the grass. As a counterbalance to the various strategies that they deploy to escape the vulnerability (and potentiality for harm) occasioned by these relationships, the poems also present the possibility of an ‘innocent’, non-violent relationship of mutual fruitfulness with the grass—a possibility that at least hypothetically extends to relationships with other people. These latter possibilities suggest a form of critique that escapes its melancholic temperament—the presumption that the world portends only harm—and allows even complicity to contain the potential for joyful, mutual, and fruitful connection with others.
{"title":"Vulnerable Life in Marvell’s Mower Poems","authors":"J. Kerr, J. Kerr","doi":"10.16995/MS.29","DOIUrl":"https://doi.org/10.16995/MS.29","url":null,"abstract":"This essay reads Marvell’s mower poems and ‘The Garden’ as case studies in the ethics of vulnerability that collectively work to illuminate a potential for joyful connection—with people, but also with the natural world—in the practice of critique, which otherwise has a melancholic potential for over-identifying with its object. Whereas vulnerability commonly denotes susceptibility to harm, this essay builds on the work of Erinn Gilson to show that vulnerability is ontological, a shared feature of human existence that makes both harm and connection possible. Vulnerability figures in the poems through the relationships they depict: between the mower and himself, Juliana, and the grass. As a counterbalance to the various strategies that they deploy to escape the vulnerability (and potentiality for harm) occasioned by these relationships, the poems also present the possibility of an ‘innocent’, non-violent relationship of mutual fruitfulness with the grass—a possibility that at least hypothetically extends to relationships with other people. These latter possibilities suggest a form of critique that escapes its melancholic temperament—the presumption that the world portends only harm—and allows even complicity to contain the potential for joyful, mutual, and fruitful connection with others.","PeriodicalId":357283,"journal":{"name":"Marvell Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115637026","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：