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Journal articles on the topic 'Andrew Marvell'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

Stocker, Margarita, and Robert Wilcher. "Andrew Marvell." Yearbook of English Studies 18 (1988): 271. http://dx.doi.org/10.2307/3508220.

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2

Wilcher (book author), Robert, and Joseph Messina (review author). "Andrew Marvell." Renaissance and Reformation 23, no. 2 (March 6, 2009): 189–91. http://dx.doi.org/10.33137/rr.v23i2.11985.

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3

Laam, Kevin. "Marvell’s Marriage Songs and Poetic Patronage in the Court of Cromwell." Explorations in Renaissance Culture 42, no. 1 (March 15, 2016): 59–86. http://dx.doi.org/10.1163/23526963-04201003.

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This paper examines the marriage songs that Andrew Marvell produced in 1657 for the wedding masque of Mary Cromwell, specifically, how they express Marvell’s long-time pursuit of patronage, and more broadly, how they showcase the increasingly courtly predilections of the Protectoral household and government. Marvell represents the politics and personalities behind the marriage in ways that suggest an acute awareness of Cromwell’s growing aristocratic and dynastic ambitions. As a newly appointed civil servant, Marvell also uses the occasion to reflect upon his experience as the beneficiary of the Protector’s largesse. Marvell is a silent but active player in the masque, using it to negotiate his position as a poet in the Cromwellian court.
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4

RIVAS CARMONA, María del Mar. "Richard Crashaw; Andrew Marvell." Hikma 6, no. 6 (October 1, 2007): 32. http://dx.doi.org/10.21071/hikma.v6i6.6672.

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5

Smith, Nigel. "Andrew Marvell and Rhyme." Explorations in Renaissance Culture 35, no. 1 (December 2, 2009): 88–102. http://dx.doi.org/10.1163/23526963-90000368.

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6

Explorations in Renaissance Culture, Editors. "The Andrew Marvell Society." Explorations in Renaissance Culture 35, no. 1 (December 2, 2009): 111–12. http://dx.doi.org/10.1163/23526963-90000372.

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7

Hennings, Jan, and Edward Holberton. "Andrew Marvell in Russia." Journal of Medieval and Early Modern Studies 50, no. 3 (September 1, 2020): 565–86. http://dx.doi.org/10.1215/10829636-8626457.

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This article examines interactions between diplomatic representation, state bureaucracy, and rhetoric in early modern diplomacy. It analyzes manuscripts in the hand of the poet Andrew Marvell, which he wrote as secretary to the Earl of Carlisle’s 1663–64 embassy to Moscow. The manuscripts show how a battle over diplomatic ceremony and honor unfolded into disputes over the forms and decorum used in a lively exchange of diplomatic letters and written complaints. These texts were edited, translated, and published for English and international audiences by another embassy secretary, Guy Miège. The article traces the afterlife of the embassy letters in print, arguing that Marvell and Miège became central agents in shaping how the embassy was perceived at home and further afield. The wider context of public diplomacy drew from the secretaries’ considerable skill in framing diplomatic letters for consumption by different audiences. Early modern ambassadors performed rituals of sovereignty, symbolizing status and rank, but the complex art of diplomatic image-making was also directed by lower-ranking embassy personnel. Examining the relationship between bureaucratic practices and the performative nature of diplomacy, this article shows how secretaries exerted significant influence on the reception of early modern diplomatic relations.
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8

Byung-Eun Lee. "Andrew Marvell in ＂The Garden＂." Journal of Medieval and Early Modern English Studies 18, no. 1 (May 2008): 17–29. http://dx.doi.org/10.17054/jmemes.2008.18.1.17.

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9

Jong-Woo Lee. "Andrew Marvell and Poetic Imagination." Journal of Medieval and Early Modern English Studies 18, no. 1 (May 2008): 95–150. http://dx.doi.org/10.17054/jmemes.2008.18.1.95.

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10

PATTERSON, ANNABEL, and MARTIN DZELZAINIS. "MARVELL AND THE EARL OF ANGLESEY: A CHAPTER IN THE HISTORY OF READING." Historical Journal 44, no. 3 (September 2001): 703–26. http://dx.doi.org/10.1017/s0018246x01001984.

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Andrew Marvell's famous polemical pamphlets against Samuel Parker, the two parts of The rehearsal transpros'd, are packed with references and allusions to other books, some very esoteric. We think we have discovered where Marvell did his reading – in the library of Arthur Annesley, first earl of Anglesey, who also protected Marvell and his bookseller from the licenser and the Stationers' Company. In this, he collaborated with the earl of Shaftesbury, the then Lord Chancellor. The implications of these discoveries go well beyond even the new bibliography, suggesting that Marvell wrote his responses to Parker under the patronage of Anglesey, and that his connections with Shaftesbury began earlier than supposed; but they also show us how one efficient and intelligent reader responded to the task of detailed controversy, by doing focused and rapid research. Would that our own had equally witty results!
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11

Cho, Hyunyoung. "Surveying “Paradise’s only map”: Andrew Marvell and Early Modern Science." Institute of British and American Studies 10, no. 1 (June 30, 2022): 129–56. http://dx.doi.org/10.25093/ibas.2022.55.129.

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Andrew Marvell has rarely been studied in relation to early modern science, even though his poetry reveals his interest in the scientific and technological developments of his time. In this study, I make a claim that Marvell’s poetic innovation of the country house poetry results from his active engagement with the new insights of early modern science, articulated most famously by Francis Bacon. In his poetic innovation, Marvell draws upon the new empirical and analytic methodology of early modern science. My focus is the poet’s impersonation of an estate surveyor. By taking up the role of an analytic and yet poetic surveyor, the poet maps out the discursive field of multiple visions competing at the historical juncture, which used to be hidden behind the monolithic vision of a utopian community in earlier precedents of the genre. In this poetic map, the surveyor-poet manages to capture not only the ascending logic of land improvement, represented by his lord, Sir Thomas Fairfax, but also the alternative views, namely, Diggers’ proto-communist ideas and fenmen’s protest against agrarian modernization. The poetic map delineates the contours of the discursive conflict surrounding the land in mid-seventeenth century England, the locus of the birth of capitalism.
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12

Smith, Nigel. "The Boomerang Theology of Andrew Marvell." Renaissance and Reformation 37, no. 4 (January 1, 2001): 139–55. http://dx.doi.org/10.33137/rr.v37i4.8742.

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La poésie lyrique d’Andrew Marvell a suscité quelques discussions bien connues de la poétique protestante, puritaine et contre-réformatrice. Toutefois la religion joue un autre rôle, presqu’entièrement inexploré, dans sa poésie.On a remarqué jusqu’à quel point ses œuvres en prose des années 1670, dans lesquelles il exprime ses opinions sur la tolérance religieuse, la liberté civile et l’absolutisme, incorporent des vers et des expressions remaniés de sa poésie, parmi d’autres références poétiques. Cet article considère la poésie de Marvell, autant en soi qu’en son remaniement, comme le chantier où a été forgée la largeur d’esprit manifestée dans sa prose.
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13

Young, R. V. "Andrew Marvell and The Devotional Tradition." Renascence 38, no. 4 (1986): 204–27. http://dx.doi.org/10.5840/renascence19863841.

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14

Hirst, Derek, and Steven N. Zwicker. "Eros and Abuse: Imagining Andrew Marvell." ELH 74, no. 2 (2007): 371–95. http://dx.doi.org/10.1353/elh.2007.0013.

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15

Cousins, A. D. "NIGEL SMITH. Andrew Marvell: The Chameleon." Review of English Studies 62, no. 256 (May 19, 2011): 653–54. http://dx.doi.org/10.1093/res/hgr042.

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16

von MALTZAHN, NICHOLAS. "Andrew Marvell and the Lord Wharton." Seventeenth Century 18, no. 2 (September 2003): 252–65. http://dx.doi.org/10.1080/0268117x.2003.10555529.

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17

Corns, Thomas N. "The Oxford handbook of Andrew Marvell." Seventeenth Century 35, no. 2 (September 20, 2019): 255–56. http://dx.doi.org/10.1080/0268117x.2019.1669214.

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18

Whitaker, Curtis. "Andrew Marvell on Renaissance Translation Practice." SEL Studies in English Literature 1500-1900 59, no. 1 (2019): 177–202. http://dx.doi.org/10.1353/sel.2019.0008.

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19

Koch, Jonathan. "‘No Empty Place for Complementing Doubt’: The Spaces of Religious Toleration in Andrew Marvell’s ‘Flecknoe’." Review of English Studies 71, no. 301 (November 22, 2019): 687–708. http://dx.doi.org/10.1093/res/hgz132.

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Abstract Andrew Marvell’s ‘Flecknoe, an English Priest at Rome’ (1646) is a striking document in early modern debates over toleration and an exemplar of their rhetoric and design. Considering ‘Flecknoe’ together with Upon Appleton House (1651), I argue that Marvell uses spatial terms and satiric forms to present confessional rivalry and complementarity. Satire itself might be thought of as a practice of toleration in these poems, at once mocking the languages and gestures of opposing religious confessions and allowing the poet to draw close to—to contrive a surprising intimacy with—the convictions and practices of others. The result is a brilliant interweaving of the ideas and experiences of religious and erotic toleration: Marvell sets liberty of the spirit alongside liberty of the body in these poems’ scenes of forbearance.
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20

Simon, David Carroll. "Andrew Marvell and the Epistemology of Carelessness." ELH 82, no. 2 (2015): 553–88. http://dx.doi.org/10.1353/elh.2015.0024.

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21

Chernaik, W. "Review: The Prose Works of Andrew Marvell." Review of English Studies 55, no. 222 (November 1, 2004): 798–800. http://dx.doi.org/10.1093/res/55.222.798.

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22

Trubowitz, Rachel. "Feminizing vision: Andrew Marvell and female prophecy." Women's Studies 24, no. 1-2 (November 1994): 15–29. http://dx.doi.org/10.1080/00497878.1994.9979041.

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23

De Quehen, Hugh. "The Prose Works of Andrew Marvell (review)." University of Toronto Quarterly 74, no. 1 (2004): 417–18. http://dx.doi.org/10.1353/utq.2005.0185.

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24

DEES, JEROME S. "Recent Studies in Andrew Marvell (1973–1990)." English Literary Renaissance 22, no. 2 (March 1992): 273–95. http://dx.doi.org/10.1111/j.1475-6757.1992.tb01041.x.

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25

McDowell, Sean H. "Andrew Marvell: The Chameleon (review)." Restoration: Studies in English Literary Culture, 1660-1700 35, no. 2 (2011): 57–60. http://dx.doi.org/10.1353/rst.2011.0012.

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26

Klawitter, George. "Andrew Marvell: The Chameleon, by Nigel Smith." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 24, no. 4 (October 2011): 269–76. http://dx.doi.org/10.1080/0895769x.2011.614922.

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27

de Mendoza Ibáñez, Francisco J. Ruiz, and María Asunción Barreras Gómez. "Time and Cognition in Marvell’s “To his Coy Mistress”." Cognitive Semantics 1, no. 2 (August 18, 2015): 241–60. http://dx.doi.org/10.1163/23526416-00102004.

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Andrew Marvell’s poem “To his coy mistress” has generally been taken as one more example of thecarpe diemtradition in literature. This tradition makes use of time metaphors, especially time is a resource. However, we find that Marvell exploits this and other time metaphors in ways that go beyond the traditional understanding of thecarpe diemmotif. We first give an overview of the treatment of the notion of time within Conceptual Metaphor Theory, which is then applied to the understanding of central thematic and structural aspects of the poem. We stress the importance of the metaphorstime is a resource, time moves, events are actionsand a cluster of metaphors revolving around thecarpe diemmotif. Finally, the paper discusses how Marvell imaginatively organizes what otherwise would be considered mere stock metaphors into an intricate logical network specifically tailored to sustain an argumentative line.
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28

Jajtner, Tomáš. "Marvell’s Green Thought(s): The Paradoxes of Marvell’s Nature Poetry." Prague Journal of English Studies 7, no. 1 (July 1, 2018): 9–25. http://dx.doi.org/10.1515/pjes-2018-0001.

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Abstract This paper interprets the “green” poetry of Andrew Marvell (1621-1678). It discusses the main features of the Renaissance pastoral, especially the standard elements of the genre and its ethical aspects. Methodologically, it combines ecocritical reading with the philosophical concepts of harmony, based on Pythagorean harmonic lore. It shows the paradoxes of Marvell’s treatment of the pastoral, especially the dramatic contrast between the meditative and comforting aspect of the pastoral genre and the impossibility of reconciling the harmonious ethos of the natural world with the plagues of human love and its finality.
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29

Jajtner, Tomáš. "Apocalyptic Kingship, Harmony and Political Expediency: the Challenges and Paradoxes of Andrew Marvell’s “First Anniversary”." Prague Journal of English Studies 4, no. 1 (July 1, 2015): 9–23. http://dx.doi.org/10.1515/pjes-2015-0001.

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Abstract The following paper deals with the interpretation of one of the major “Cromwellian” poems of Andrew Marvell (1621-1678), “The First Anniversary of the Government under His Highness the Lord Protector”, 1655. The poem is first set in the context of Marvell’s poetry and his public career in the period between 1637 and 1660. The article then identifies and analyses three main themes of “The First Anniversary”: the notion of a new aeon starting with Cromwell’s rule and the apocalyptical imagery related to his Protectorate, the concept of his power and authority between liberty and tyranny, and the relation between the harmony established by Cromwell and classical Pythagorean harmonious lore. The author argues that the imagery Marvell uses to describe the nature of the regime (especially the concept of Cromwell’s “no-kingship”) shows a deeply paradoxical structure, which uncovers the frailty and insecurity of Cromwell’s dictatorship as well as the circular logic of its justification. In that sense, the poem can be read as a vivid manifestation of the dilemmas and tensions of this period.
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30

King, Robert L. "ANDREW MARVELL DISPUTANT AS READER OF “PARADISE LOST”." Milton Studies 27 (January 1, 1991): 165–82. http://dx.doi.org/10.2307/44645404.

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31

Smith, Nigel. "Andrew Marvell and Ben Jonson: Personality and Prosody." Ben Jonson Journal 20, no. 2 (November 2013): 157–78. http://dx.doi.org/10.3366/bjj.2013.0079.

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32

DZELZAINIS, MARTIN. "ROBERT FERGUSON AND ANDREW MARVELL: AN UNNOTICED ALLUSION." Notes and Queries 46, no. 3 (September 1, 1999): 340–41. http://dx.doi.org/10.1093/nq/46-3-340.

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33

DZELZAINIS, MARTIN. "ROBERT FERGUSON AND ANDREW MARVELL: AN UNNOTICED ALLUSION." Notes and Queries 46, no. 3 (1999): 340–41. http://dx.doi.org/10.1093/nq/46.3.340.

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34

POWELL, MICHAEL. "ANDREW MARVELL, SIR THOMAS WIDDRINGTON, AND APPLETON HOUSE." Notes and Queries 43, no. 3 (September 1, 1996): 281–84. http://dx.doi.org/10.1093/nq/43-3-281.

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35

POWELL, MICHAEL. "ANDREW MARVELL, SIR THOMAS WIDDRINGTON, AND APPLETON HOUSE." Notes and Queries 43, no. 3 (1996): 281–84. http://dx.doi.org/10.1093/nq/43.3.281.

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36

Benet, Diana Treviño. "Andrew Marvell and the chorus of old poets." Lit: Literature Interpretation Theory 3, no. 4 (October 1992): 305–19. http://dx.doi.org/10.1080/10436929208580090.

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37

KAVANAGH, ART. "Andrew Marvell ‘in want of money’: The Evidence in John Farrington v. Mary Marvell." Seventeenth Century 17, no. 2 (September 2002): 206–12. http://dx.doi.org/10.1080/0268117x.2002.10555508.

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38

McDowell, Nicholas. "Wit, Conversation, and Literary Transmission in Mid-Seventeenth-Century France and England: How Andrew Marvell Heard His Rabelais." Renaissance Quarterly 69, no. 3 (2016): 940–65. http://dx.doi.org/10.1086/689038.

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AbstractReferences to Rabelais in Andrew Marvell’s prose satires against religious intolerance,The Rehearsal Transpros’d(1672–73), offer insights into the Restoration reception of Rabelaisian satire in the universities and the coffeehouses as a specifically anticlerical form of wit. But these references are either misattributed or incorrect, suggesting that Marvell may never actually have readGargantua and Pantagruel,but rather picked up Rabelaisian anecdotes when conversing in intellectual circles in France in the mid-1650s. Critical focus on the history of reading tends to neglect the inevitable role of such conversation in literary transmission, both within a national culture and across national borders.
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39

Papazian, Mary A., Andrew Marvell, Claude J. Summers, and Ted-Larry Pebworth. "On the Celebrated and Neglected Poems of Andrew Marvell." Sixteenth Century Journal 24, no. 3 (1993): 753. http://dx.doi.org/10.2307/2542162.

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40

Parrish, Paul A., Andrew Marvell, Claude J. Summers, and Ted-Larry Pebworth. "On the Celebrated and Neglected Poems of Andrew Marvell." South Central Review 13, no. 1 (1996): 51. http://dx.doi.org/10.2307/3189918.

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41

von Maltzahn, Nicholas. "Andrew Marvell, the Lord Maynard and the Ballastage Office." Seventeenth Century 28, no. 3 (August 16, 2013): 311–21. http://dx.doi.org/10.1080/0268117x.2013.823300.

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42

Kavanagh, A. "Andrew Marvell and the Duttons of Sherborne in 1657." Notes and Queries 50, no. 2 (June 1, 2003): 183–88. http://dx.doi.org/10.1093/nq/50.2.183-a.

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43

Kavanagh, Art. "Andrew Marvell and the Duttons of Sherborne in 1657." Notes and Queries 50, no. 2 (June 1, 2003): 183–88. http://dx.doi.org/10.1093/nq/500183a.

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44

Loxley, James. "Echoes as Evidence in the Poetry of Andrew Marvell." SEL Studies in English Literature 1500-1900 52, no. 1 (2012): 165–85. http://dx.doi.org/10.1353/sel.2012.0007.

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45

Lewis, R. "An Unpublished Letter from Andrew Marvell to William Petty." Notes and Queries 53, no. 2 (June 1, 2006): 181–83. http://dx.doi.org/10.1093/notesj/gjl019.

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46

Dzelzainis, Martin. "Andrew Marvell and George Villiers, Second Duke of Buckingham." Explorations in Renaissance Culture 36, no. 2 (December 2, 2010): 151–69. http://dx.doi.org/10.1163/23526963-90000390.

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47

Harkins, Matthew. "The Cambridge Companion to Andrew Marvell (review)." Restoration: Studies in English Literary Culture, 1660-1700 36, no. 1 (2012): 61–63. http://dx.doi.org/10.1353/rst.2012.0001.

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48

Miller, Anthony. "The political identity of Andrew Marvell (review)." Parergon 9, no. 1 (1991): 154–55. http://dx.doi.org/10.1353/pgn.1991.0011.

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49

Netzley, Ryan. "Sameness and the Poetics of Nonrelation: Andrew Marvell's “The Garden”." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 580–95. http://dx.doi.org/10.1632/pmla.2017.132.3.580.

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Andrew Marvell's “The Garden” foregrounds the role of subtraction in aesthetic creation and seeks to imagine sameness independent of metaphor, similarity, and relation. The poem employs a subtractive poetics that challenges modern presuppositions about the networked, connected essence of literature. It also points to the critical limitations of recent accounts of surface and formalist reading, both of which still present poetry as productive, especially insofar as it heightens attention. For Marvell, in contrast, the value of lyric resides in the ways in which it challenges the dialectical notion of creative destruction and, instead, conceives of an annihilation that does not transform into its more respectable opposite. “The Garden,” then, shows that we and our students are overburdened with connection—that there is too much relation, not too little—and that the function of poetry is to dismantle these links in the interest of creativity.
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50

Shifflett, Andrew. "“By Lucan Driv'n About”: A Jonsonian Marvell's Lucanic Milton." Renaissance Quarterly 49, no. 4 (1996): 803–23. http://dx.doi.org/10.2307/2862962.

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Specialists may recall Andrew Marvell's defense of John Milton in The Second Part of The Rehearsall Transpros'd against the attacks of Samuel Parker, once an associate of sorts but by 1673 a champion of religious intolerance. Parker had written in his Reproof that The Rehearsall Transpros'd afforded “as good Precedents for Rebellion and King-killing, as any we meet with in the writings of J.M.”; and toward the end of The Second Part Marvell makes a point of rebutting this claim as yet another instance of Parker's malicious immoderation. He allows that it was Milton's “misfortune, living in a tumultuous time, to be toss'd on the wrong side, and [that] he writ Flagrante bello certain dangerous Treatises.”
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