By Elizabeth Story Donno
The severe history gathers jointly a wide physique of serious resources on significant figures in literature. every one quantity offers contempoprary responses to a writer's paintings, allowing scholars and researchers to learn the fabric themselves.
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Additional resources for Andrew Marvell: The Critical Heritage
1) calls him a coffee-house virtuoso (pp. ); Bishop Parker (No. 2) describes his loitering about Lincoln’s Inn Fields and Charing Cross. For the daily enactment of ‘farces and drolls’ on political topics, see Calendar of State Papers, Domestic, 1672–3, p. 148. 7 Two anonymous pamphlets (A Letter from a Parliament-Man to His Friend and A Letter from a Person of Quality to His Friend in the Country, both 1675), taken as indicative of the compatibility of Marvell’s political ideas with those of the Earl of Shaftesbury, were on occasion attributed to him by contemporaries (see No.
The unlicensed first part, published anonymously in the autumn of 1672 with a mock imprint, elicited a half-dozen replies, all of which Marvell alludes to in the second part (pp. 174–6). Despite its anonymity, the identity of the author was clearly recognized, as the punning allusions in the replies to it attest. Part Two, published over Marvell’s name in 1673, effectively silenced Parker. 27 1. ) is identified as a sometime commoner of Queen’s at Oxford and afterwards a player at one of the theatres in London.
Parnassus, an anthology based on his commonplace book by still another American—Ralph Waldo Emerson, mentioned earlier—appeared in 1875 and included five of the lyrics, again classified under rubrics and again with textual alterations. A few personal comments by English writers at this time indicate that the poet was being read, if only in the various anthologies. In a letter of 1872, the translator of the Rubáiyát, Edward FitzGerald (No. Palgrave record (No. 78), admired the poems, including the one—‘To His Coy Mistress’— deliberately excluded from the most popular of all nineteenth-century anthologies, that of Palgrave himself.
Andrew Marvell: The Critical Heritage by Elizabeth Story Donno