By Elizabeth Story Donno
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Additional info for Andrew Marvell : the critical heritage
Moreover, to associate one historical personage with another provides a shorthand of signification that may come to have the weight of tradition. Instances are Cooke's metaphor of Marvell as the ‘British Aristides’ and Thompson's comparison of him with the unnamed Roman general content with his plate of turnips; first specified by Disraeli as ‘Curtius’ through either a misprint or a slip, this ‘unclassical’ comparison was to be frequently invoked. On the other hand, the biographies of Dove and Coleridge, replete with unacknowledged borrowings, invite the charge of plagiarism.
None the less, this period of poetic activity (nearly forty years on the basis of first and last dates; more likely fewer on the basis of the smallness of the canon) covers a long span of time in contrast to that obtaining for the prose pieces. All occasional in nature and all but one of them published anonymously or pseudonymously, the prose pieces appeared within the space of five and a half years. 2 More than two centuries were to pass before his reputation was established as, primarily, that of a lyric poet.
In place of long quotations from Marvell's writings, bracketed references have been inserted, keyed to the following editions: Grosart The Complete Works in Verse and Prose of Andrew Marvell, ed. B. Grosart, 4 vols, Fuller Worthies Library, 1872–5 Poems; Letters The Poems and Letters of Andrew Marvell, ed. Margoliouth, rev. Duncan-Jones. 2 vols, Oxford, 1971 RT I and II or Smith The Rehearsal Transpros'd and The Rehearsal Transpros'd the Second Part, ed. ’1 Each phrase aptly sums up public response to the man and his works within their eras; in conjunction, they sharply point up the alteration in response that took place in the years between.
Andrew Marvell : the critical heritage by Elizabeth Story Donno