English Literature

Andrew Marvell, the Critical Heritage (The Critical Heritage by Elizabeth Story Donno

By Elizabeth Story Donno

The severe history gathers jointly a wide physique of severe assets on significant figures in literature. each one quantity provides contempoprary responses to a writer's paintings, permitting scholars and researchers to learn the fabric themselves.

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Historical critics, in turn, sorted themselves into compartments, signaled by their multiple points of departure, with the result that some of them frequently seemed to go beyond an approach that on its own terms stresses literary contexts within the social and political confines of a particular era. First of all, there were those who endeavoured to place Marvell within a particular literary tradition, the rhetorical, for example, where he was considered as having employed common Renaissance techniques—rather than sounding certain notes not to be heard again until the nineteenth century.

12 Henry Headley, Select Beauties of Ancient English Poetry, 1787, I, pp. xxx-xxxi. 13 An Historical Account of the Lives and Writings of Our Most Considerable English Poets, II, p. 98. Parker. Supportive of the scant attention historically accorded to lyric poetry is Parker’s conclusion that, apart from the (three) printed tributes in the 1645 Poems, ‘no printed or manuscript allusions’ to the minor English poems seem to exist (p. 24). 14 Original Letters, 1721 (2 vols in one), p. 75. 15 Ellis included ‘Daphnis and Chloe’ and ‘Young Love’ (both in part) in the second edition of his Specimens of the Early English Poets, while Campbell included ‘Bermudas’ (entitled ‘Emigrants’) and ‘The Nymph’ in part, ‘Young Love’ in its entirety.

Historical critics, in turn, sorted themselves into compartments, signaled by their multiple points of departure, with the result that some of them frequently seemed to go beyond an approach that on its own terms stresses literary contexts within the social and political confines of a particular era. First of all, there were those who endeavoured to place Marvell within a particular literary tradition, the rhetorical, for example, where he was considered as having employed common Renaissance techniques—rather than sounding certain notes not to be heard again until the nineteenth century.

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