Andrew Marvell, Various Short Poems, the "Mower and the Garden" group, "An Horatian Ode: Upon Cromwell's Return from Ireland"

Genre: metrically experimental lyrics, many in the pastoral mode, and a "balanced" or "Horatian" ode describing its subject's strengths and weaknesses.

Characters: Marvell's most famous personae are Damon, the hapless mower in love with Juliana and hostile to gardens, the sentimentally grieving "Nymph," and his mute but memorable "Coy Mistress."  His own persona is more ambiguous, masked by its playful use of langauge and standard poetic conventions.

• "Coronet" is a religious poem that we cannot date due to its late publication by Mary "Marvell" Palmer (see #1 below), but which may have been influenced by George Herbert's poems (pub. 1633).  It also may reflect both poets' common response to the problem of faith in a nation divided by wars over religious observance (among other causes).  Compare its use of "wreaths" as a synonym for poems with Donne's "pretty rooms" ("Canonization") and the threat that the persona's subtle corruption by art may require God's violent attack to purge it (Holy Sonnets, "Hymn to God My God in Sickness").
  • What is the moral effect of poetry?
  • What debts does the author of a poem incur?
• "Bermudas" is a framed poem, purporting to have been overheard across the water from a small boat being rowed by English sailors.  First, acknowledge that any tunes sung by English sailors of the period doubtless would have had an earthier subject or, at least, a less smooth meter.  However, you can find chanteys that praise the bounty of the New World and the freedom of the seas in contrast with the Old World's conflicts and familiar economic tangles.  Compare this with Ralegh's "Discovery" for a similar sense of this land as a New Eden, a place "Safe from storms, and prelate's rage" (11).
  • Given this similarity, why does Marvell cast the poem as a song overheard, not his, though of "An holy and a cheerful note"(38)?
• "A Dialogue Between the Soul and the Body" is an old medieval motif which reminds us of Everyman, almost a piece of closet theatre, in which the stanzas alternatingly present the view of human life from these two radically differing points of view.  Note the potential for comparison with "Coronet" and (hence) with Donne's religious poems and those of Herbert.
  • Does the dialogue sound sympathetic or hostile to the Body's situation?

  Especially note the introduction of the notion that ensoulment, and life in society, constitutes a kind of fall into construction doomed to failure (ll. 41-44).   Marvell does much more with this in the "Mower" poems.  The Norton footnote (1687) has been changed from the 6th edition note which says "The outsize last stanza, the inconclusive ending, and the fact that the body has the last word, all suggest that the poem as we have it is incomplete" (6th edition, 1418).

  • Why do you suppose they changed their opinion?  With which reading of the poem's irregularities do you agree?
• "The Nymph Complaining for the Death of Her Fawn" has two background allusions, the first to the classics: Virgil's Aeneid VII, in which the Trojans are brought to open war with the Latins when Aeneas' son, Ascanius, while hunting, slays a stag which he does not realize is the tame pet of Silvia, daughter of the warden of the king's game.  For the passage in question (translated by John Dryden), click here.  The other allusive reference is the (female) soul's lament for the slain Innocent who was crucified by Man.  In both instances, men are "wild" when they are untrue (see Sylvio's behavior, ll. 33-36) but the garden is another form of "wilderness" (74) in which natural relations are properly observed.  Her behavior in ll. 93-110 can be compared with a medieval saint's worship, including the relics and reliquary she constructs to hold them.
• "To His Coy Mistress" is (with Herrick's "To Maidens to Make Much of Time") one of the era's most famous expressions of the carpe diem motif.  Note the comparisons one might make with Donne's and Jonson's poetic flights of fancy regarding the lover's claims about the vast world's riches, and the cosmic scale of time.  The phrase "But at my back I always here" shows up in Eliot's "The Wasteland," with a slightly different sound accompanying the persona's observation.  Note that, like many Marvell poems, this one unfolds in stanzas that work like verse paragraphs, opening with a hypothetical exposition of timeless love, changing to the dreadful effects of time (see Spenser and Shakespeare), and turning the threat into the motive for reversing the effect of "devouring time" ("Now let us sport us while we may, / And now, like amorous birds of prey, / Rather at once our time devour / Than languish in his slow-chapped power.").  His closing three couplets are a triumph of the metaphysical conceit's power to represent the human condition in violent, memorable, and witty metaphor.   Wylie Sypher often uses this poem as an example of the peculiar restlessness and disturbed proportions by which he defines "Mannerist" style in English literature (e.g., Four Stages of Renaissance Style 118-9).  There he says "Marvell's sharp but sustained attack [upon conventional Renaissance poetic formulas] . . . is like the loose and surprising adjustment and counter-adjustment of figure to figure in Parmigianino's paintings, with their evidence of subjective stress . . . [which] relies upon an involved energy, not a closed design [which produces] equilibriums [which] are always momentary and undependable" (119).  To test Sypher's visual metaphor, compare the poem's stretching of perspective and explosive shifts of point of view to the structure of Parmigianino's "Madonna dal Collo Lungo" (1534-40).
• "The Definition of Love" attaches Donne's navigation motifs to an allegory about the birth of Love out of Despair.  The poem addresses love forbidden by social inequality.  Might there be a pattern here?
• "The Picture of Little T.C. in a Prospect of Flowers" is like a proud parent showing you photographs of the Blessed Babe's first booties.  I cannot defend its wisdom, but its structure contains an amazing resemblence to a stanzaic structure called the "bob and wheel" which is famous for the medieval poem, "Sir Gawain and the Green Knight" (see 158-210 in the Norton 7th edition.).   The penultimate line of each stanza is the dimeter "bob" and the pentameter line that follows rounds out the stanza by resolving its stage in the poem's argument.
• "The Mower Against Gardens" is the first of the "Mower" sequence, an attack on the sophistications of human invention and a praise of Nature's proper mixture vs. the hybrids' "Forbidden mixtures" and "nutriment" that changes our kind.  The poem's disgust with the freaks produced by science is balanced with the praise of Nature's "wild and fragrant innocence" (34).
  • Do you see a Herrick connection here?
• "Damon the Mower" exploits the figure of paradox in eleven 8-line stanzas of tetrameter couplets.  The mistress's "cruelty," refusing to return Damon's love, distracts the mower until his scythe does to him what he did to the grass.  The figure of love as a wound also is used--it could be compared with many a Petrarchan conceit, but here it is combined with the pastoral mode.  Think about about the powerful nostalgia this poem reflects.  What motivates nostalgia?
• "The Mower to the Glowworms" continues to evoke the distracting and destructive effects of love by wishing the glowworms might show the Mower the way back to himself, which he has lost in his delirium.
• "The Mower's Song" continues the "mower mown" paradox of "Damon" within a more complex stanza structure.  Note that, throughout the poem, Damon is unable to simply name the deed by which he makes his living ("to mow") and instead employs circumlocution.
  • Why should he be unable to name the act?
  • And why should the approach of the Beloved seem like Godzilla coming through the meadows?
• "The Garden" returns to the praise of idealized Nature and contrasts it with the fallen state of things under human domination.  The quest to re-imagine the un-fallen world leads the poet to a kind of ekstasis in which his language becomes almost nonsense: what exactly would one be thinking were one to think "a green thought in a green shade" (48).   This return to Eden leads the persona to imagine God-the-Gardener and Adam as the first Gardener's helper.  This has direct relevance for Milton, who was Marvell's mentor and predecessor as Cromwell's Latin Secretary.
• "An Horatian Ode: Upon Cromwell's Return from Ireland" sets up the praise of the de-facto dictatorial ruler of England in terms that allow Marvell to put his deeds in context with the inexorable political realities which the Parliamentary cause hoped to outwit.  Most impressive, for this political climate, are Marvell's ability to praise Charles I's conduct in defeat and to caution against English patriotic fervor after the end of the Irish uprising.   The poem is a continuous effort to balance current appearances against the message of time and the poetic tradition.
• ["Upon Appleton House: To My Lord Fairfax":] this "country house poem" is not assigned, but you may want to read it if you are interested in the process by which poets changed from writing as servants of wealthy aristocratic patrons (i.e., willing to support artists who, in turn, embellish their households with art) to writing as entertaining instructors of mass audiences of patrons (i.e., those who buy from bookstores).  Click here for a brief guide to a poem that is, itself, a guide to a huge estate.

Issues and Research Sources:

1. Most of Marvell's lyric works were never published in his lifetime, when he was known as an author of political satire attacking religious intolerance and political corruption.  Upon his death, his housekeeper, Mary Palmer, sent his manuscript works to press under a Preface she signed "Mary Marvell," suggesting she was his wife.  The Marvell canon remained in disarray for two centuries until Herbert Grierson's annotated edition of Marvell's poems (1912) and the critical study, Metaphysical Lyrics (1921).  These attracted the attention of T.S. Eliot, whose essay on Marvell brought him to the attention of American critics, as well as continuing a reappraisal of metaphysical poets' strategies.
   • How might this long period of neglect and misunderstanding have changed the way Marvell's work affected later poets?  

   Contrast this with the effects of the works of Chaucer and Shakespeare, which never went out of print and continued to have enormous influence in nearly every generation until the mid-twentieth century.

   • Might unknown poets constitute a potentially revolutionary force against the reigning authorities, or are they unknown for good reasons?
2. Marvell's relationship to the Puritan and Royalist causes seems to have been extremely complex.  The library does not have the best political biography, but it is available in the area (H. Kelliher, Andrew Marvell: Poet and Politician [1978]).
   • How might you trace out the Royalist and Parliamentary strains in his poetry?
   • Under what circumstances may a poet's politics be entirely ignored?
   • Marvell, like Sir Thomas Wyatt, translated the second chorus of Seneca's Thyestes, which Wyatt scholars call (after its first line) "Stand whoso list" (534).  Click here to see the Luminarium page with Marvell's version of this warning about secrecy and self-revelation.  What is Marvell using this translation to say?

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