安德鲁·马维尔诗歌中的巴洛克张力研究
摘要
自二十世纪二十年代，英国十七世纪诗人安德鲁·马维尔就开始引起学界重视，众多专家和学者对此倾注了不少心血和精力，成绩斐然。但美中不足之处是马维尔诗歌中的巴洛克风格却鲜少有人论及。本论文着重于这方面的研究，希望可以弥补这一缺憾。
巴洛克，来自barroco一词，在葡萄牙语中意为“不规则的珍珠”，之前这一术语适用于艺术领域。自从1888年沃尔夫林《文艺复兴和巴洛克》一书问世后，巴洛克一词逐步地应用于文学领域。它的介入对于重新定义17世纪的欧洲文学，以及当时的英国文学起到了至关重要的作用。与此同时，有学者把巴洛克引入马维尔的研究中，但这方面的工作尚未完善，需要继续补充。这是文章的第一部分。
文章的第二部分首先谈到巴洛克的成因以及关于巴洛克的界定。巴洛克的产生是由十六世纪末到十七世纪独特的历史文化背景决定的，它表现为一种迥异于古典以及文艺复兴的美学风格和思维范式，在文艺作品中张扬动感、华丽、张力。本章还论及巴洛克在艺术领域和文学领域的表现，在艺术领域尤其是在绘画、雕塑、建筑、音乐等方面的杰出体现。在文学领域，文章谈到巴洛克在诗歌、散文、戏剧中各自不同的表现方式。另外，这部分还涉及到巴洛克在英国文学中的表现，着重涉及琼森、莎士比亚、德莱顿、弥尔顿以及玄学派诗人的巴洛克风格。这些论述为进一步论证马维尔的巴洛克风格奠定了基础。
文章的第三部分探讨了促使马维尔巴洛克风格形成的社会背景和个人经历方面的原因。在英国历史中，马维尔所生活的十七世纪占据了极其独特的位置。此时英国国内宗教纷争、政治动荡、思想繁杂、人人自危。由于深受时代的影响，再加上其特殊的政治生涯，造就了马维尔的巴洛克思想，即在其诗歌中表现的张力。
文章的第四部分是整个文章的核心部分，论述马维尔在其诗歌中所表现的张力。主要体现在两个方面：主题方面和文类方面。主题方面包括爱情诗中精神性与欢愉性的对决和沉思诗中行动与退隐的矛盾。马维尔生活的时代，各种类型的诗歌竞相峥嵘，爱情诗、沉思诗是当时颇受诗人们青睐的体裁，马维尔就精于此道，这两种体裁的诗最确切的表现了他的巴洛克风格。与此同时，马维尔又是熟练运用各种文类的高手，在他的诗作中各种文类混杂，彼此牵制，彼此辉映，共同体现了他复杂的思想。
文章的结尾部分指出：有资料显示马维尔生前并未将他的诗集出版发行，公布于众。所以可以设想，他的诗作只是个体生命在那个动荡不安的岁月最真切、最投入、最私人的体现，对他的诗作的巴洛克风格方面的研究也只是对这个杰出的个体以及他的思想所做的一次有意义的探究。
Andrew Marvell, one of the famous poets in the seventeenth-century England, has seized the critics' attention since the 1920s. Many aspects of his poetry have been dealt with in the last several decades except the Baroque style of his poetry.
The word Baroque is derived from barroco which in Portuguese means "irregular pearl". The study of Baroque began since the publication of Heinrich Wolfflin's influential book Renaissance and Baroque in 1888. His research had contributed enormously to the understanding of the later sixteenth and seventeenth-century European architecture. From then on the concept Baroque gradually acquired the universal acceptance and was used to discuss the later sixteenth and seventeenth-century European literature. It has also been applied to the study of the metaphysical poet, Andrew Marvell by a few critics. Nevertheless, articles with a comprehensive study of his Baroque style in the poetry are wanting, which, in turn, makes the present study possible and significant. This is the chapter one.
In the chapter two how Baroque came into being is introduced and Baroque can better be defined as a particular frame of mind, or set of attitudes, which differs from the classical and early Renaissance aesthetic model, and is deeply embedded in the later sixteenth and seventeenth-century artistic world. Later on a brief comment of Baroque in the artistic fields in general and in the England verbal arts in particular is given. The aim of this chapter is for the deep understanding of Baroque, which is important for the clear analysis of Marvell's Baroque style.
The next chapter illustrates the social and individual factors that together nurtured the Baroque sensibility of Marvell. The seventeenth-century England in which Marvell lived was an extraordinarily unique century in the English history. It experienced the internal trifle of religious rivalry, political upheaval and intellectual confusion; hence, people of that period were more aware of themselves and the world they dwelt in. Marvell the seventeenth-century Englishman was greatly influenced by the social environment. Together with his special experience in the contemporary political stage, Marvell's Baroque sensibility was formed. That was the intense tension in his inner mind which was expressed in his small but brilliant output of poems.
The Fourth chapter is the main part in this thesis. In this chapter two aspects of tension are analyzed, namely, the thematic tension and generic tension. The part of thematic tension touches on the tension of poetry caused by the conflict between the spirituality and sensuality in the love poems and the action and withdrawal in the meditative poems. Meanwhile in illustrating this point some cultural background is related so as to deepen the comprehension of it. In the part of generic tension Marvell is proved to be a great master at manipulating different kinds of genres at ease to express his conflicting ideas.
Through the above analysis Marvell's Baroque style in the poetry is clearly illustrated. But there is evidence to show that in his lifetime his poem was not published for the public. Marvell's elusiveness is acknowledged. It is justifiable that his poetry can be regarded as a manifestation of his own intense tension in that particular era. The study of his Baroque style in his poetry is just to provide a new perspective to understand this great person and his extraordinary thoughts.
巴洛克，来自barroco一词，在葡萄牙语中意为“不规则的珍珠”，之前这一术语适用于艺术领域。自从1888年沃尔夫林《文艺复兴和巴洛克》一书问世后，巴洛克一词逐步地应用于文学领域。它的介入对于重新定义17世纪的欧洲文学，以及当时的英国文学起到了至关重要的作用。与此同时，有学者把巴洛克引入马维尔的研究中，但这方面的工作尚未完善，需要继续补充。这是文章的第一部分。
文章的第二部分首先谈到巴洛克的成因以及关于巴洛克的界定。巴洛克的产生是由十六世纪末到十七世纪独特的历史文化背景决定的，它表现为一种迥异于古典以及文艺复兴的美学风格和思维范式，在文艺作品中张扬动感、华丽、张力。本章还论及巴洛克在艺术领域和文学领域的表现，在艺术领域尤其是在绘画、雕塑、建筑、音乐等方面的杰出体现。在文学领域，文章谈到巴洛克在诗歌、散文、戏剧中各自不同的表现方式。另外，这部分还涉及到巴洛克在英国文学中的表现，着重涉及琼森、莎士比亚、德莱顿、弥尔顿以及玄学派诗人的巴洛克风格。这些论述为进一步论证马维尔的巴洛克风格奠定了基础。
文章的第三部分探讨了促使马维尔巴洛克风格形成的社会背景和个人经历方面的原因。在英国历史中，马维尔所生活的十七世纪占据了极其独特的位置。此时英国国内宗教纷争、政治动荡、思想繁杂、人人自危。由于深受时代的影响，再加上其特殊的政治生涯，造就了马维尔的巴洛克思想，即在其诗歌中表现的张力。
文章的第四部分是整个文章的核心部分，论述马维尔在其诗歌中所表现的张力。主要体现在两个方面：主题方面和文类方面。主题方面包括爱情诗中精神性与欢愉性的对决和沉思诗中行动与退隐的矛盾。马维尔生活的时代，各种类型的诗歌竞相峥嵘，爱情诗、沉思诗是当时颇受诗人们青睐的体裁，马维尔就精于此道，这两种体裁的诗最确切的表现了他的巴洛克风格。与此同时，马维尔又是熟练运用各种文类的高手，在他的诗作中各种文类混杂，彼此牵制，彼此辉映，共同体现了他复杂的思想。
文章的结尾部分指出：有资料显示马维尔生前并未将他的诗集出版发行，公布于众。所以可以设想，他的诗作只是个体生命在那个动荡不安的岁月最真切、最投入、最私人的体现，对他的诗作的巴洛克风格方面的研究也只是对这个杰出的个体以及他的思想所做的一次有意义的探究。
Andrew Marvell, one of the famous poets in the seventeenth-century England, has seized the critics' attention since the 1920s. Many aspects of his poetry have been dealt with in the last several decades except the Baroque style of his poetry.
The word Baroque is derived from barroco which in Portuguese means "irregular pearl". The study of Baroque began since the publication of Heinrich Wolfflin's influential book Renaissance and Baroque in 1888. His research had contributed enormously to the understanding of the later sixteenth and seventeenth-century European architecture. From then on the concept Baroque gradually acquired the universal acceptance and was used to discuss the later sixteenth and seventeenth-century European literature. It has also been applied to the study of the metaphysical poet, Andrew Marvell by a few critics. Nevertheless, articles with a comprehensive study of his Baroque style in the poetry are wanting, which, in turn, makes the present study possible and significant. This is the chapter one.
In the chapter two how Baroque came into being is introduced and Baroque can better be defined as a particular frame of mind, or set of attitudes, which differs from the classical and early Renaissance aesthetic model, and is deeply embedded in the later sixteenth and seventeenth-century artistic world. Later on a brief comment of Baroque in the artistic fields in general and in the England verbal arts in particular is given. The aim of this chapter is for the deep understanding of Baroque, which is important for the clear analysis of Marvell's Baroque style.
The next chapter illustrates the social and individual factors that together nurtured the Baroque sensibility of Marvell. The seventeenth-century England in which Marvell lived was an extraordinarily unique century in the English history. It experienced the internal trifle of religious rivalry, political upheaval and intellectual confusion; hence, people of that period were more aware of themselves and the world they dwelt in. Marvell the seventeenth-century Englishman was greatly influenced by the social environment. Together with his special experience in the contemporary political stage, Marvell's Baroque sensibility was formed. That was the intense tension in his inner mind which was expressed in his small but brilliant output of poems.
The Fourth chapter is the main part in this thesis. In this chapter two aspects of tension are analyzed, namely, the thematic tension and generic tension. The part of thematic tension touches on the tension of poetry caused by the conflict between the spirituality and sensuality in the love poems and the action and withdrawal in the meditative poems. Meanwhile in illustrating this point some cultural background is related so as to deepen the comprehension of it. In the part of generic tension Marvell is proved to be a great master at manipulating different kinds of genres at ease to express his conflicting ideas.
Through the above analysis Marvell's Baroque style in the poetry is clearly illustrated. But there is evidence to show that in his lifetime his poem was not published for the public. Marvell's elusiveness is acknowledged. It is justifiable that his poetry can be regarded as a manifestation of his own intense tension in that particular era. The study of his Baroque style in his poetry is just to provide a new perspective to understand this great person and his extraordinary thoughts.
引文
1 Elizabeth Story Donne, ed.,Andrew Marvell The Critical Heritage (London: Routledge, 1995) 7.
2 Donne, The Critical Heritage 8.
3 See the original comment by T. S. Eliot on Marvell in Donne, The Critical Heritage 362-76.
4 Alex Preminger and T.V. F. Brogan et al., eds., The New Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 1993) 121.
5 Bernini, Gian Lorenzo (1598-1680) greatest sculptor of the Baroque period in Italy, also an architect, painter and dramatist. He created the Baroque style of sculpture and developed it to such an extent that other artists are of only minor importance in a discussion of the style. The greatest single example of Bernini's mature art is the Cornaro Chapel in Sta. Mafia della Vittoria, in Rome. Its focal point is a sculptured group named "The Ecstasy of St. Teresa". It is a depiction of a mystical experience of the great Spanish Carmelite reformer, Teresa of Avila (1515-1582). See Robert P. Gwinn, Peter B. Norton, Philip W. Goetz et al., eds., The New Encyclopedia Britannia, vol. 2, 15th ed. (London: Encyclopedia Britannica, Inc., 1988) 152.
6 See Patrick Coleman, "Culture and Authority in the Baroque" in The Center & Clark Newsletter On Line, Newsletter no. 36, Fall 2000,,. 20 Oct. 2006.
7 Ariosto, Ludovico (1474-1533) Italian poet remembered primarily for his epic poem Orlando furioso, generally regarded as the most perfect expression of artistic tendencies and spiritual attitudes of the Italian Renaissance. See Gwinn, et al., eds., vol. 1,552. Tasso, Torquato (1544-1595) greatest Italian poet of the 16th century, celebrated for his heroic epic poem Gerusalemme Liberata(1581: Jerusalem Liberated) dealing with the capture of Jerusalem during the First Crusade.See Gwinn,et al.,eds.,vol.11,573． These two persons and their works are analyzed in Heinrich Wolfflin,Renaissance and Baroque,trans.Kathrin Simon(N.Y.:Corneil University Press,1967) 83-5．
8 See Patrick Coleman,"Culture and Authority in the Baroque"in The Center & Clark Newsletter On Line,Newsletter no.36,Fall 2000,,20 Oct.2006．
9 Grimmelshausen,Hans Jacob(1621-1676) German novelist whose Simplicissimus series is one of the masterworks of his country's literature.Satirical and partially autobiographical,it is a matchless social picture of the often-grotesque Thirty Years' War.(1618-1648) .See Gwinn,et al.,eds.,vol.5,502． Gryphius,Andreas(1616-1664) lyric poet and dramatist,one of Germany's leading writers in the 17~(th) century.See Gwinn,et al.,eds.,vol.5,525． Lohenstein,Daniel Caspar von(1623-1676) Dramatist,a dichotomy between excess of feeling and acuteness of intellectual perception was expressed in full-blown rhetoric.See Gwinn,et al.,eds.,vol. 20,30．
10 Siglo de oro. Another name is Spanish Golden Age.The period of Spanish literature extending from the early 16~(th) century to the late 17~(th) century,generally considered the high point in Spain's literary history.The Golden Age began with the partial political unification of Spain around 1500,and its literature is characterized by patriotic and religious fervours,heightened realism,and a new interest in earlier epics and ballads,together with somewhat less pronounced influences of Humanism and Neoplatonism.See Gwinn,et al.,eds.,vol.5,338．
11 Cervantes Saavedra,Miguel de(1547-1616) novelist,playwright and poet.He was the creator of Don Quixote(1605) and the most important figure in Spanish literature.See Gwinn,et al.,eds.,vol.3,41． Lope de Vega(1562-1635) outstanding dramatist of the Spanish Golden Age,author of as many as 1800 plays and several hundred shorter dramatic pieces,of which 431 plays and 50 shorter pieces are extant.See Gwinn,et al.,eds.,vol.12,292． Quevedo y Villegas,Francisco Gomes de(1580-1645) poet and master satirist of Spain's Golden Age,who,as a virtuoso of language,is unequalled in Spanish literature.He reveals his complex personality in the extreme variety of tone in his works,ranging from the obscene to the devout.See Gwinn,et al.,eds.,vol. 9,856．
12 Preciosite,style of thought and expression exhibiting delicacy of taste and sentiment,prevalent in the 17~(th) century French salons.Initially a reaction against the coarse behavior and speech of the aristocracy,this spirit of refinement was first instituted by the Marquise de Rambouillet in her salon and gradually extended into literature.The wit and elegance of preciosite was expressed in the vivid,polished style of Vincent Voiture's poems and letters and in the eloquent prose works of Jean-Louis Guez de Balzac.See Gwinn,et al.,eds.,vol.9,671．
13 Marino,Giambattista(1569-1625) Italian poet,founder of the school of Marinism(also Secentismo),which dominated 17~(th) century Italian poetry.Marino's own work,praised throughout Europe,far surpassed that of his imitators,who carried his complicated word play and elaborate conceits and metaphors to such extremes that Marinism became a pejorative term.His work was translated all over Europe. See Gwinn, et al., eds., vol. 6, 341.
14 Rene Wellek, Concepts of Criticism, ed. Stephen G. Nichols Jr. (New Haven and London: Yale University Press, 1963) 94.
15 Wylie Sypher, Four Stages of Renaissance Style Transformations in Art and Literature 1400-1700 (New York: Doubleday & Company Inc., 1955).
16 Harold B. Segel, The Baroque Poem (New York: E.P.Dutton & Co., Inc., 1974).
17 J.P. Hill and E.Caracciolo-Trejo, Baroque Poetry (Totowa, N.J: Rowman and Littlefield, 1975). For this reading of the Baroque see Jose Antonio Maravall's study of seventeenth-century Spain, The Culture of the Baroque, trans. Terry Cochran (Minneapolis: University of Minnesota Press, 1986).
2 James J. Johnson, Yale French Studies: Baroque topographies:Literature/History/Philosophy (Yale University Press, 1991) 3.
3 Segel 34.
4 Segel 44.
5 Segel 35.
6 Samuel Enoch Stumpf, Socrates to Sartre: a History of Philosophy 5th ed. (New York: McGraw-Hill, Inc., 1993) 217-19.
7 Segel 49.
8 See Thomas Hobbbes, online:. 8 Oct. 2006.
9 Basil Willey, The Seventeenth-Century Background (London: Ark Paperbacks, 1986) 16.
10 Joseph M. Levine, Between the Ancients and the Moderns Baroque Culture in Restoration England (New Haven and London: Yale University Press, 1999) pix.
11 Segel xix.
12 Caravaggio, byname of Michelangelo Merisi (1573-1610), Italian painter whose revolutionary technique of dramatic, selective illumination of form out of deep shadow became a hallmark of Baroque painting. See Gwinn, et al., eds., vol. 2, 842.
13 Guercino, Ⅱ. Original name Giovanni Francesco Barbieri (1591-1666) Italian painter whose frescoes freshly exploited the illusionistie ceiling, making a profound impact on 17th century Baroque decoration. See Gwirnn, et al., eds., vol. 5, 542.
14 Velazque, diego (1599-1660) major Spanish painter of the 17th century, against of western art. His early works were naturalistic religious or genre scenes. He evolved a rich, expressionistic style. Absorption of Italian influences culminated in the heighten realism of his final masterpieces. See Gwinn, et al., eds., vol. 12, 296. Vermeer, Jan (1632-1675) painter, mainly of interior genre subjects. He was one of the masters of Dutch art in the 17th century. He had an unerring grasp of pictorial design and a pure and individual color sense. See Gwinn, et al., eds., vol. 12, 320.
15 Poussin, Nicolas (1594-1665) 17th century French painter, a leader of pictorial classicism in the Baroque period. Except for two years as court painter to Louis ⅩⅢ he spent his entire career in Rome. His paintings (e.g. "The Adoration of the Shepherds"(1637) )and aesthetic philosophy influenced generations of French painters. See Gwinn, et al., eds., vol. 9, 651.
16 Pietro Da Cortona(1596-1669) Italian architect, painter and decorator, an outstanding exponent of Baroque style. See Gwinn, et al., eds., vol. 9, 435.
17 Rubens, Peter Paul (1577-1640) Flemish master painter, the greatest exponent of Baroque painting's sensuous exuberance. Though his masterpieces include numerous portraits and religious works, he is perhaps best known for the pagan vitality of his allegorical scenes (eg. "Venus and Adonis" (1635). See Gwinn, et al., eds., vol. 10, 224.
18 Rembrandt Harmenszoon Van Rijn (1606-1669) Dutch painter, draftsman and etcher of the 17th century, a giant in the history of art. His paintings are characterized by luxuriant brushwork, rich color and a mastery of chiaroscuro. Numerous portraits and self-portraits exhibit a profound penetration of character. His drawings constitute a vivid record of contemporary Amsterdam life. See Gwinn, et al., eds., vol. 9, 1018.
19 Borromini, Francesco(1599-1667) Italian architect who was a chief formulator of Baroque architectural style. He designed a small church, S. Carlo alle Quattro Fontane, Rome, which was based on geometric figures rather on the proportions of the human body. See Gwinn, et al., eds., vol. 2, 394. Guarini, Guarino (1624-1683) Italian architect, priest, mathematician and theologian whose designs and books on architecture made his a major source for later Baroque architects in Central Europe and North Italy. See Gwinn, et al., eds., vol. 5, 539. Neumann, (Johann) Balthasar (1687-1753) German architect of diverse talents, a master of the late Baroque style. See Gwinn, et al., eds., vol. 8, 620.
20 Handel, George Frideric(1685-1759) German-born English composer of the late,,Baroque era, noted particularly for operas, oratorios, and instrumental compositions including the most famous of all oratorios, the Messiah (1741). See Gwirnn, et al., eds., vol. 5, 678.
21 Camerata, Florentine. society of poets and musieiaus whose theories and musical experiments led in 1597 to the composition of the first opera. Dafine. See Gwinn, et al., eds., vol. 2, 766.
22 Wolfflin, 56.
23 See Answers. com. Online :, 12 Nov. 2006.
24 Gongora y Argote, Luis de(1561-1627) one of the most influential Spanish poets of his era. His Baroque, convoluted style, known as Gongorism(gongorismo), was so exaggerated by less gifted imitators that his reputation suffered after his death until it underwent a revaluation in the 20th century. See Gwinn, et al., eds., vol. 5, 158.
25 Corneille, Pierre (1606-1684) French poet and dramatist considered the creator of French classical tragedy. See Gwinn, et al., eds., vol. 3,206.
26 Opitz (von Boberfeld) Martin (1597-1639) German poet and literary theorist who introduced foreign literary models and rules into Germany poetry. He was the "father of Germany Poetry" at least in respect to its form. See Gwinn, et al., eds., vol. 8, 309. Bohme, Jakob (1575-1624)German philosophical mystic. He had a profound influence on such later intellectual movements as Idealism and Romanticism. See Gwinn, et al., eds., vol. 2, 345.
27 This viewpoint together with the following classification about the Baroque poetry is from Segel, 66-101.
28 Les Tragiques was written by Theodore Agrippa d'Aubinge. This epic poem is consisted of seven cantos that introduced the reader to a theological understanding of the French history. See Gwinn, et al., eds., vol. 5, 315.
29 Segel 74.
30 The Baroque epic, its relation to the Renaissance epic, and the reasons for its few notable achievements are discussed in Frank Warnke, Versions of Baroque: European Literature in the seventeenth Century (New Haven: Yale University Press, 1972) 158-86.
31 The Silver Age: in Latin literature the period from approximately AD 18 to AD 133 that is a time of marked literary achievement second only to the previous Golden Age (70 B.C - A.D. 18). Satire is the most vigorous. See Gwinn, et al., eds., vol. 9, 406.
32 Morris W. Croll, "Attic" and Baroque Prose Style (New Jersey: Princeton University Press, 1969).
33 John M. Steadman, Redefining a Period Style "'Renaissance, Mannerist" and "Baroque" in Literature (Pennsylvania: Duquesne University Press, 1990) 118.
34 Steadman 114.
35 Tak-Wai. Wong, Baroque Studies in English 1963-1974: A Survey & Bibliography (Richmond, Virginia: The New Academics Press, 1978) 27.
36 Shakespeare has been regarded as Renaissance (the traditional view; among Baroque scholars, Mincoff was one of those who held this view), Mannerist (Hauser, Stamm), Baroque(Walzel, Daniells, Sehucking, Swanston, Lebeque), and, at various stages, Renaissance, Mannerist, and Baroque(Syper). See Wong 78.
37 Warnke 15.
38 Levin Ludwig Schueking, "The Baroque Character of the Elizabethan Tragic Hero." Proceedings of the British Academy, ⅩⅩⅣ (1938): 85-111
39 Landrum Banks, "Dryden's Baroque Drama" Essays in Honor of Esmond Linworth Marilla, eds. Thomas A. Kirby, William O. Olive (Barton Rouge: Louisiana St. University Press, 1970) 188-200.
40 Roy Daniells, Milton, Mannerism and Baroque (Toronto: University of Toronto Press, 1963) 181.
41 R. Darby Williams, "Two Baroque Game Poems on Grace: Herbert's 'Paradise' and Milton's 'On Time'." Criticism, Ⅻ (1970): 180-94
42 This article was written by by. Rolf P. Lessenich, University of Bonn. Online:, 10 Nov.2006. The Reformation,which had promised a new purity to Christianity,had led to secular warfare and a permanent division between Protestant and Catholic.The optimism of the Renaissance had yielded to a disbelief in the perfectibility of man.For the most men of that time life was a flux.What could be observed was no more than an appearance,and in describing these appearances man could at best only hint at a reality that he was unable to grasp.~(14)
Marvell was not an exception of that time.The age,together with his special political life,moulded his way of thinking that was full of confusion and complexity about the world in which he dwelt in.His inner conflict was expressed in his lyrics full of tension that is one of the main characteristics of Baroque era.
This brings us at last to the writings of Marvell.Marvell wrote only a small number of poems,of which a still smaller number are widely known.They are difficult to date with precision,but there seems to be a broad division between the lyrics,which belongs largely to before or during the Civil War,and the satires,which are post-Restoration.~(15) In the next chapter some of his lyrics are dealt with to fully explain his Baroque style.
Notes:
1 Wolfflin 15-23．
2 Blair Worden,"Providence and Politics in Cromwellian England",Past and Present,109(1985) :55-99(58) .
3 J. P. Kenyon,Stuart Constitution(London:Cambridge University Press,1966) 171-2．
4 Behemoth,"The History of the Causes of the Civil Wars of England",in The English Works of Thomas Hobbes,ed.Sir William Molesworth,vol.6(London,1840) ,p 191． This piece of information is again cited from the book Andrew Marvell(London:Macmillan & Co.,Limited,1905) written by Augustine Birrell.
5 Willey 105．
6 Helen Peter,John Donne:Paradoxes and Problems(Oxford:Clarendon Press,1980) 71．
7 Deborah Aldrich Larson,John Donne and Twentieth-Century Criticism(London and Toronto:Associated University Press,Inc.,1989) 115．
8 The biographical fact in this part is from the book Andrew Marvell(London:Macmillan & Co.,Limited,1905) written by Augustine Birrell.
9 Paul Dean,"World Enough and Time:The Life of Andrew Marvell.(Review)"New Criterion,vol. 18 (June 2000): 78.
10 Birrell 27.
11 Birrell 32.
12 Robert Wilcher, Andrew Marvell (London: Cambridge University Press, 1985) 107.
13 A. L. Clements, John Donne's Poetry (New York and London: W.W. Norton & Company, Inc., 1966) 113.
14 J.M. Cohen, The Baroque Lyric (London: Hutchinson U. Library, 1963) 15-6
15 Andrew Marvell, Andrew Marvell." The Complete Poems, ed. Elizabeth Story Donne (England: Penguin Education, 1981) 9-12.
1 This point of view is from Hill 117. Michelangelo (1475-1564) Italian Renaissance painter, sculptor, architect and poet, exerted an unparalleled influence on the development of western art. He was sometimes called the father of the Baroque era for the voluptuous, contorted male figures of his Sistine Chapel Frescoes, the pinnacle of his achievement in painting. See Gwinn, et al., eds., vol. 8, 96.
2 Hill 1.
3 Ernst Cassirer, An Essay on Man (New Haven: Yale University Press, 1945) 76.
4 John Dewey, The Quest for Certainty (New York: Minton, Balch & Company, 1929) 255.
5 Patrick Cullen, Spenser, Marvell, and Renaissance Pastoral (Massachusetts: Harvard University Press, 1970) 197.
6 Cullen 198.
7 J.B. Leishman, The Art of Marvell's Poetry (U.S.A: Hutchinson & Co. Ltd, 1968) 36-7.
8 Don Cameron Allen, lmage and Meaning: Metaphoric Tradition in Renaissance Poetry (Baltimore: Johns Hopkins Press, 1960) 93.
9 Marvell 246.
10 Pythagoras(580B.C.—500B.C.)Greek philosopher, mathematician and founder of the Pythagorean brotherhood. Although he was religious in nature, he formulated principles that influenced the thought of Plato and Aristotle and contributed to the development of mathematics and western rational philosophy. See Gwinn, et al., eds., vol. 9, 827.
11 Stumpf 77.
12 Jowett translation, Ⅶ, 525. For this aspect of Plato's thought, see also R. Collingwood, The Idea of Nature (London: Oxford University Press, 1967) 76.
13 Edwin Arthur Burtt, The Metaphysical Foundations of Modern Physical Science (Atlantic Highlands, New Jersey: Humanities Press, 1980) 33.
14 Plotinus, The Enneads, trans. Stephen MacKenna (London: Penguin Books, 1991)136-39
15 Catesby R. Talieferro, Plato, the Timaeus and the Critias (New York, 1945) 20.
16 B.A. G. Fuller, The History of Greek Philosophy (New York: Green-wood, 1968) 137.
17 This kind of point of view is from the article written by Rolf P. Lessenich, University of Bonn. Online:
18 Muriel Clara Bradbrook and M. G. Lloyd Thomas, Andrew Marvell (Oxford: Oxford University Press, 1940) 67.
19 Robert Ellrodt, Seven Metaphysical Poets A Structural Study of the Unchanging Self (Oxford: Oxford University Press, 2000) 140.
20 Herbert Butterfield, The Origins of Modern Science, 1300-1800 (New York: The Macmillan Company, 1957) 16.
21 Butterfield 8. For a comprehensive account of the importance of this image in seventeenth-century poetry, see M. H. Nicolson, The Breaking of the Circle (New York: Columbia University Press, 1960).
22 Ellrodt 51.
23 Marvell 102.
24 Wilcher 106.
25 Wilcher 130.
26 Hill 174.
27 Wilcher 142.
28 Leishman 317.
29 Thomas N. Corns, ed., The Cambridge Companion to English Poetry Donne to Marvell (Shanghai: Shanghai Foreign Language Education Press, 2005) 80.
30 Rosalie L. Colic, The Resources of Kind: Genre-Theory in the Renaissance, ed. Barbara Keifer Lewalski (Berkeley, Calif.: University of California Press, 1973) 3.
31 Roger Ascham(1515-1568) British Humanist, scholar and writer, was famous for his prose style, his promotion of the vernacular, and his theories of education. See Gwinn, et al., eds., vol. 1, 17.
32 William H. Race, Classical Genres and English Poetry (London: Croom Helm, 1988)chapter Ⅰ.
33 Corns 90. Callimachus(305 B.C.—240 B.C.), Greek poet and scholar, the most representative poet of the erudite and sophisticated Alexandrian school. See Gwinn, et al., eds., vol.2, 750. Persius (A.D. 34-62) was a stoic poet, whose Latin satires reached a higher moral tone than any others in classical Latin literature. See Gwinn, et al., eds., vol. 9, 310.
34 Corns 208.
35 Race 89.
36 D. B. Wilson, Descriptive Poetry in France from Blason to Baroque (Manchester: Manchester University Press, 1967) 78.
37 See Francis Cairns, Generic Composition in Greek and Roman Poetry (Edinburgh: Edinburgh University Press, 1972), with many examples.
38 Leishman 11.
39 Rosalie L. Colie is the best guide to this aspect of Marvell's poetic. See "My Echoing Song:" Andrew Marvell's Poetry of Criticism (N. J.: Princeton University Press, 1970).
40 For the sake of convenience "An Horatian Ode upon Cromwell's Return from Ireland" will be called "Horatian Ode" in the following paragraphs.
41 J. Hollander and F. Kermode eds., The Oxford Anthology of English Literature (Oxford: Oxford University Press, 1973) 1162.
42 See Gwinn, et al., eds., vol. 9, 152.
43 For their use in Renaissance schools, see D.L. Clark, John Milton at St. Paul's School: a Study of Ancient rhetoric in English Renaissance education (Columbia University Press, New York, 1948) 244-5.
44 Race 56.
45 Race 56.
46 Derek Hirst, Authority and Conflict: England 1603-1658 (London: Edward Arnold, 1986) 287.
47 In T.S. Eliot essay Andrew Marvell the Critical Heritage, he first noted the logical tendency of"To His Coy Mistress". Many later logical analyses of this poem were reviewed in John Hackdtt, "Logic and Rhetoric in Marvell's 'To His Coy Mistress'", in Tercentenary Essays in Honor of Andrew Marvell, ed. K. Friedenreich, (Hamden, Conn. 1977) 140-51.
48 Pierre Du Moulin, The Elements of Logic, trans. Henry Hall (Oxford, 1647) 128-29. This piece of information is from the article "Logic and illogic in Marvell's 'to his coy mistress'" in English Studies, (3, 1990), 246.
49 Logic and illogic in Marvell's 'to his coy mistress' in English Studies, (3, 1990), 248
50 Logic and illogic in Marvell's 'to his coy mistress' in English Studies, (3, 1990), 250.
51 N. Frye, S Baker and G. Perkins eds., The Harper Handbook to Literature (New York: Harper and Row, 1985) 89.
52 Race 80.
53 Race 134.
54 Levine Pix.
1 Wilcher 1-10.
2 See "What cultural significance did John Donne have in the Baroque Age?" in Yahoo! Answers. Online:. 3 Dee. 2006.
3 Marvell's elusiveness is asserted in Robert Ellrodt's essay on "Marvell's Mind and Mystery", in Approaches to Marvell, ed. C. A. Patrides (London: Routledge & Kegan Paul, 1978).
4 Ellrodt 73.
5 Ellrodt 77.
Allen, Don Cameron. Image and Meaning: Metaphoric Tradition in Renaissance Poetry. Baltimore: Johns Hopkins Press, 1960.
Banks, Landrum. "Dryden's Baroque Drama." Essays in Honor of Esmond Linworth Marilla. Eds. Thomas A. Kirby, William O. Olive. Barton Rouge: Louisiana St. University Press, 1970.
Birrell, Augustine. Andrew Marvell. London: Macmillan & Co., Limited, 1905.
Burtt, Edwin Arthur. The Metaphysical Foundations of Modern Physical Science. Atlantic Highlands, New Jersey: Humanities Press, 1980.
Butterfield, Herbert. The Origins of Modern Science 1300-1800. New York: The Macmillan Company, 1957.
Cairns, Francis. Generic Composition in Greek and Roman Poetry. Edinburgh: Edinburgh University Press, 1972.
Cassirer, Ernst. An Essay on Man. New Haven: Yale University Press, 1945,
Clark, D.L. John Milton at St. Paul's School: a Study of Ancient Rhetoric in English Renaissance Education. New York: Columbia University Press, 1948.
Clements, A. L. John Donne's Poetry. New York and London: W.W. Norton & Company, Inc., 1966.
Cohen, J.M. The Baroque Lyric. London: Hutchinson U. Library, 1963.
Coleman, Patrick. "Culture and Authority in the Baroque" in The Center & Clark Newsletter On Line. Newsletter no. 36, Fall 2000. Online:, 20 Oct. 2006.
Colie, Rosalie L. "My Echoing Song": Andrew Marvell's Poetry of Criticism. N. J.: Princeton University Press, 1970.
——The Resources of Kind: Genre-Theory in the Renaissance. Ed. Barbara Keifer Lewalski. Berkeley, Calif.: University of California Press, 1973.
Collingwood, R. The Idea of Nature. London: Oxford University Press, 1967.
Corns, Thomas N., ed. The Cambridge Companion to English Poetry Donne to Marvell. Shanghai: Shanghai Foreign Language Education Press, 2005.
Croll, Morris W. "Attic" and Baroque Prose Style. New Jersey: Princeton University Press, 1969.
Cullen, Patrick. Spenser, Marvell, and Renaissance Pastoral. Massachusetts: Harvard University Press, 1970.
Daniells, Roy. Milton, Mannerism and Baroque. Toronto: University of Toronto Press, 1963.
Dean, Paul. "World Enough and Time: The Life of Andrew Marvell (Review)." New Criterion, vol. 18 (June 2000): 78.
Dewey, John. The Quest for Certainty. New York: Minton, Balch & Company, 1929.
Donno, Elizabeth Story, ed. Andrew Marvell: The Critical Heritage. London: Routledge, 1995.
Ellrodt, Robert. Seven Metaphysical Poets A Structural Study of the Unchanging Self. Oxford: Oxford University Press, 2000.
Frye, N., S Baker and G. Perkins, eds. The Harper Handbook to Literature. New York: Harper and Row, 1985.
Ford, Boris, ed. The Pelican Guide to English Literature From Donne to Marvell. Vol. 3. Harmondsworth: Penguin, 1981.
Fuller, B. A. G. The History of Greek Philosophy. New York: Green-wood, 1968.
George deF. Lord, ed. Andrew Marvell A Collection of Critical Essay. New Jerry: Prentice-Hall, Inc., 1968.
Gwinn, Robert P., Peter B. Norton, Philip W. Goetz et al., eds. The New Encyclopedia Britannia. 15th ed. London: Encyclopedia Britannica, Inc. 1988.
Hauser, Arnold. Social History. Vol. 2. London: Routledge and Kegan Paul Press, 1992.
Hill C. and E. Dell, eds. The Good Old Cause: The English Revolution of 1640-60. London: Lawrence and Wishart, 1949.
Hill, J.P. and E. Caracciolo-Trejo. Baroque Poetry. Totowa, N.J: Rowman and Littlefield, 1975.
Hirst, Derek. Authority and Conflict: England 1603-1658. London: Edward Arnold, 1986.
Hobbbes, Thomas. online:, 8 Oct. 2006.
Hollander J. and F. Kermode, eds. The Oxford Anthology of English Literature. Oxford: Oxford University Press, 1973.
Johnson, James J. Yale French Studies: Baroque topographies: Literature/History/ Philosophy. New Haven and London: Yale University Press, 1991.
Kenyon, J. P. Stuart Constitution. London: Cambridge University Press, 1966.
Larson, Deborah Aldrich. John Donne and Twentieth-Century Criticism. London and Toronto: Associated University Press, Inc., 1989.
Leishman, J. B. The Art of Marvell's Poetry. U.S.A: Hutchinson & Co. Ltd, 1968.
Lessenich, Rolf P. "The "Metaphysicals": English Baroque Literature in Context".
Online:, 10 Nov. 2006.
Levine, Joseph M. Between the Ancients and the Moderns Baroque Culture in Restoration England. New Haven and London: Yale University Press, 1999.
Maravall, Jose Antonio. The Culture of the Baroque. Trans. Terry Coehran. Minneapolis: University of Minnesota Press, 1986.
Marcus, Leah S. The Politics of Mirth. Chicago: The University of Chicago Press, 1986.
Margoliouth, H.M., ed. The Poems and Letters of Andrew Marvell. 2 vols. Oxford: Clarendon Press, 1927.
Martz, Louis L. From Renaissance to Baroque Essays on Literature and Art. Columbia: University of Missouri Press, 1991.
Marvell, Andrew. Andrew Marvell: The Complete Poems. Ed. Elizabeth Story Donne. England: Penguin Education, 1981.
Mirollo, James V. Mannerism and Renaissance Poetry: Concept, Mode, lnner Design. New Haven and London: Yale University Press, 1984.
Nicolson, M. H. The Breaking of the Circle. New York: Columbia University Press, 1960.
Patrides, C. A. ed. Approaches to Marvell. London: Routledge & Kegan Paul, 1978.
Peter, Helen. John Donne: Paradoxes and Problems. Oxford: Clarendon Press, 1980.
Plotinus. The Enneads. Trans. Stephen MacKenna. London: Penguin Books, 1991.
Pollard, Arthur, ed. Andrew Marvell Poems: A Casebook. London: The Macmillan Press Ltd, 1980.
Preminger, Alex and T.V. E Brogan et al eds. The New Princeton Encyclopedia of Poetry and Poetics. New York: Princeton University Press, 1993.
Race, William H. Classical Genres and English Poetry. New York: Croom Helm, 1988.
Segel, Harold B. The Baroque Poem. New York: E. P. Dutton & Co., Inc., 1974.
Snyder, Susan. Pastoral Process: Spenser, Marvell, Milton. California: Stanford University Press, 1998.
Steadman, John M. Redefining a Period Style "Renaissance, Mannerist" and "Baroque'" in Literature. Pennsylvania: Duquesne University Press, 1990.
Schucking, Levin Ludwig. "The Baroque Character of the Elizabethan Tragic Hero." Proceedings of the British Academy, ⅩⅩⅣ ( 1938): 85-111.
Stumpf, Samuel Enoch. Socrates to Sartre: a History of Philosophy. 5th ed. New York: McGraw-Hill, Inc., 1993..
Sypher, Wylie. Four Stages of Renaissance Style Transformations in Art and Literature 1400-1700. New York: Doubleday & Company, Inc., 1955.
Warnke, Frank. Versions of Baroque: European Literature in the Seventeenth Century. London and New Haven: Yale University Press, 1972.
Wellek, Rene. Concepts of Criticism. Ed. Stephen G, Nichols, Jr. London and New Haven: Yale University Press, 1963.
Wileher, Robert. Andrew Marvell. London: Cambridge University Press, 1985.
Willey, Basil. The Seventeenth-Century Background. London: Ark Paperbacks, 1986.
Williams, R. Darby. "Two Baroque Game Poems on Grace: Herbert's 'Paradise' and Milton's'On Time'." Criticism, Ⅻ (1970): 180-194.
Wolffiin, Heinrich. Renaissance and Baroque. Trans. Kathrin Simon. N.Y.: Corneil University Press, 1967.
Wilson, D. B. Descriptive Poetry in France from Blason to Baroque. Manchester: Manchester University Press, 1967.
Wong, Tak-Wai. Baroque Studies in. English 1963-1974: A Survey & Bibliography. Riehrnond, Virginia: The New Academics Press, 1978.
Worden, Blair. "Providence and Politics in Cromwellian England."Past and Present, 109 (1985):55-99.
Zwicker, Steven N. The Cambridge Companion to English Literature 1650-1740. London: Cambridge University Press, 1998.
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2 Donne, The Critical Heritage 8.
3 See the original comment by T. S. Eliot on Marvell in Donne, The Critical Heritage 362-76.
4 Alex Preminger and T.V. F. Brogan et al., eds., The New Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 1993) 121.
5 Bernini, Gian Lorenzo (1598-1680) greatest sculptor of the Baroque period in Italy, also an architect, painter and dramatist. He created the Baroque style of sculpture and developed it to such an extent that other artists are of only minor importance in a discussion of the style. The greatest single example of Bernini's mature art is the Cornaro Chapel in Sta. Mafia della Vittoria, in Rome. Its focal point is a sculptured group named "The Ecstasy of St. Teresa". It is a depiction of a mystical experience of the great Spanish Carmelite reformer, Teresa of Avila (1515-1582). See Robert P. Gwinn, Peter B. Norton, Philip W. Goetz et al., eds., The New Encyclopedia Britannia, vol. 2, 15th ed. (London: Encyclopedia Britannica, Inc., 1988) 152.
6 See Patrick Coleman, "Culture and Authority in the Baroque" in The Center & Clark Newsletter On Line, Newsletter no. 36, Fall 2000,
7 Ariosto, Ludovico (1474-1533) Italian poet remembered primarily for his epic poem Orlando furioso, generally regarded as the most perfect expression of artistic tendencies and spiritual attitudes of the Italian Renaissance. See Gwinn, et al., eds., vol. 1,552. Tasso, Torquato (1544-1595) greatest Italian poet of the 16th century, celebrated for his heroic epic poem Gerusalemme Liberata(1581: Jerusalem Liberated) dealing with the capture of Jerusalem during the First Crusade.See Gwinn,et al.,eds.,vol.11,573． These two persons and their works are analyzed in Heinrich Wolfflin,Renaissance and Baroque,trans.Kathrin Simon(N.Y.:Corneil University Press,1967) 83-5．
8 See Patrick Coleman,"Culture and Authority in the Baroque"in The Center & Clark Newsletter On Line,Newsletter no.36,Fall 2000,
9 Grimmelshausen,Hans Jacob(1621-1676) German novelist whose Simplicissimus series is one of the masterworks of his country's literature.Satirical and partially autobiographical,it is a matchless social picture of the often-grotesque Thirty Years' War.(1618-1648) .See Gwinn,et al.,eds.,vol.5,502． Gryphius,Andreas(1616-1664) lyric poet and dramatist,one of Germany's leading writers in the 17~(th) century.See Gwinn,et al.,eds.,vol.5,525． Lohenstein,Daniel Caspar von(1623-1676) Dramatist,a dichotomy between excess of feeling and acuteness of intellectual perception was expressed in full-blown rhetoric.See Gwinn,et al.,eds.,vol. 20,30．
10 Siglo de oro. Another name is Spanish Golden Age.The period of Spanish literature extending from the early 16~(th) century to the late 17~(th) century,generally considered the high point in Spain's literary history.The Golden Age began with the partial political unification of Spain around 1500,and its literature is characterized by patriotic and religious fervours,heightened realism,and a new interest in earlier epics and ballads,together with somewhat less pronounced influences of Humanism and Neoplatonism.See Gwinn,et al.,eds.,vol.5,338．
11 Cervantes Saavedra,Miguel de(1547-1616) novelist,playwright and poet.He was the creator of Don Quixote(1605) and the most important figure in Spanish literature.See Gwinn,et al.,eds.,vol.3,41． Lope de Vega(1562-1635) outstanding dramatist of the Spanish Golden Age,author of as many as 1800 plays and several hundred shorter dramatic pieces,of which 431 plays and 50 shorter pieces are extant.See Gwinn,et al.,eds.,vol.12,292． Quevedo y Villegas,Francisco Gomes de(1580-1645) poet and master satirist of Spain's Golden Age,who,as a virtuoso of language,is unequalled in Spanish literature.He reveals his complex personality in the extreme variety of tone in his works,ranging from the obscene to the devout.See Gwinn,et al.,eds.,vol. 9,856．
12 Preciosite,style of thought and expression exhibiting delicacy of taste and sentiment,prevalent in the 17~(th) century French salons.Initially a reaction against the coarse behavior and speech of the aristocracy,this spirit of refinement was first instituted by the Marquise de Rambouillet in her salon and gradually extended into literature.The wit and elegance of preciosite was expressed in the vivid,polished style of Vincent Voiture's poems and letters and in the eloquent prose works of Jean-Louis Guez de Balzac.See Gwinn,et al.,eds.,vol.9,671．
13 Marino,Giambattista(1569-1625) Italian poet,founder of the school of Marinism(also Secentismo),which dominated 17~(th) century Italian poetry.Marino's own work,praised throughout Europe,far surpassed that of his imitators,who carried his complicated word play and elaborate conceits and metaphors to such extremes that Marinism became a pejorative term.His work was translated all over Europe. See Gwinn, et al., eds., vol. 6, 341.
14 Rene Wellek, Concepts of Criticism, ed. Stephen G. Nichols Jr. (New Haven and London: Yale University Press, 1963) 94.
15 Wylie Sypher, Four Stages of Renaissance Style Transformations in Art and Literature 1400-1700 (New York: Doubleday & Company Inc., 1955).
16 Harold B. Segel, The Baroque Poem (New York: E.P.Dutton & Co., Inc., 1974).
17 J.P. Hill and E.Caracciolo-Trejo, Baroque Poetry (Totowa, N.J: Rowman and Littlefield, 1975). For this reading of the Baroque see Jose Antonio Maravall's study of seventeenth-century Spain, The Culture of the Baroque, trans. Terry Cochran (Minneapolis: University of Minnesota Press, 1986).
2 James J. Johnson, Yale French Studies: Baroque topographies:Literature/History/Philosophy (Yale University Press, 1991) 3.
3 Segel 34.
4 Segel 44.
5 Segel 35.
6 Samuel Enoch Stumpf, Socrates to Sartre: a History of Philosophy 5th ed. (New York: McGraw-Hill, Inc., 1993) 217-19.
7 Segel 49.
8 See Thomas Hobbbes, online:
9 Basil Willey, The Seventeenth-Century Background (London: Ark Paperbacks, 1986) 16.
10 Joseph M. Levine, Between the Ancients and the Moderns Baroque Culture in Restoration England (New Haven and London: Yale University Press, 1999) pix.
11 Segel xix.
12 Caravaggio, byname of Michelangelo Merisi (1573-1610), Italian painter whose revolutionary technique of dramatic, selective illumination of form out of deep shadow became a hallmark of Baroque painting. See Gwinn, et al., eds., vol. 2, 842.
13 Guercino, Ⅱ. Original name Giovanni Francesco Barbieri (1591-1666) Italian painter whose frescoes freshly exploited the illusionistie ceiling, making a profound impact on 17th century Baroque decoration. See Gwirnn, et al., eds., vol. 5, 542.
14 Velazque, diego (1599-1660) major Spanish painter of the 17th century, against of western art. His early works were naturalistic religious or genre scenes. He evolved a rich, expressionistic style. Absorption of Italian influences culminated in the heighten realism of his final masterpieces. See Gwinn, et al., eds., vol. 12, 296. Vermeer, Jan (1632-1675) painter, mainly of interior genre subjects. He was one of the masters of Dutch art in the 17th century. He had an unerring grasp of pictorial design and a pure and individual color sense. See Gwinn, et al., eds., vol. 12, 320.
15 Poussin, Nicolas (1594-1665) 17th century French painter, a leader of pictorial classicism in the Baroque period. Except for two years as court painter to Louis ⅩⅢ he spent his entire career in Rome. His paintings (e.g. "The Adoration of the Shepherds"(1637) )and aesthetic philosophy influenced generations of French painters. See Gwinn, et al., eds., vol. 9, 651.
16 Pietro Da Cortona(1596-1669) Italian architect, painter and decorator, an outstanding exponent of Baroque style. See Gwinn, et al., eds., vol. 9, 435.
17 Rubens, Peter Paul (1577-1640) Flemish master painter, the greatest exponent of Baroque painting's sensuous exuberance. Though his masterpieces include numerous portraits and religious works, he is perhaps best known for the pagan vitality of his allegorical scenes (eg. "Venus and Adonis" (1635). See Gwinn, et al., eds., vol. 10, 224.
18 Rembrandt Harmenszoon Van Rijn (1606-1669) Dutch painter, draftsman and etcher of the 17th century, a giant in the history of art. His paintings are characterized by luxuriant brushwork, rich color and a mastery of chiaroscuro. Numerous portraits and self-portraits exhibit a profound penetration of character. His drawings constitute a vivid record of contemporary Amsterdam life. See Gwinn, et al., eds., vol. 9, 1018.
19 Borromini, Francesco(1599-1667) Italian architect who was a chief formulator of Baroque architectural style. He designed a small church, S. Carlo alle Quattro Fontane, Rome, which was based on geometric figures rather on the proportions of the human body. See Gwinn, et al., eds., vol. 2, 394. Guarini, Guarino (1624-1683) Italian architect, priest, mathematician and theologian whose designs and books on architecture made his a major source for later Baroque architects in Central Europe and North Italy. See Gwinn, et al., eds., vol. 5, 539. Neumann, (Johann) Balthasar (1687-1753) German architect of diverse talents, a master of the late Baroque style. See Gwinn, et al., eds., vol. 8, 620.
20 Handel, George Frideric(1685-1759) German-born English composer of the late,,Baroque era, noted particularly for operas, oratorios, and instrumental compositions including the most famous of all oratorios, the Messiah (1741). See Gwirnn, et al., eds., vol. 5, 678.
21 Camerata, Florentine. society of poets and musieiaus whose theories and musical experiments led in 1597 to the composition of the first opera. Dafine. See Gwinn, et al., eds., vol. 2, 766.
22 Wolfflin, 56.
23 See Answers. com. Online :
24 Gongora y Argote, Luis de(1561-1627) one of the most influential Spanish poets of his era. His Baroque, convoluted style, known as Gongorism(gongorismo), was so exaggerated by less gifted imitators that his reputation suffered after his death until it underwent a revaluation in the 20th century. See Gwinn, et al., eds., vol. 5, 158.
25 Corneille, Pierre (1606-1684) French poet and dramatist considered the creator of French classical tragedy. See Gwinn, et al., eds., vol. 3,206.
26 Opitz (von Boberfeld) Martin (1597-1639) German poet and literary theorist who introduced foreign literary models and rules into Germany poetry. He was the "father of Germany Poetry" at least in respect to its form. See Gwinn, et al., eds., vol. 8, 309. Bohme, Jakob (1575-1624)German philosophical mystic. He had a profound influence on such later intellectual movements as Idealism and Romanticism. See Gwinn, et al., eds., vol. 2, 345.
27 This viewpoint together with the following classification about the Baroque poetry is from Segel, 66-101.
28 Les Tragiques was written by Theodore Agrippa d'Aubinge. This epic poem is consisted of seven cantos that introduced the reader to a theological understanding of the French history. See Gwinn, et al., eds., vol. 5, 315.
29 Segel 74.
30 The Baroque epic, its relation to the Renaissance epic, and the reasons for its few notable achievements are discussed in Frank Warnke, Versions of Baroque: European Literature in the seventeenth Century (New Haven: Yale University Press, 1972) 158-86.
31 The Silver Age: in Latin literature the period from approximately AD 18 to AD 133 that is a time of marked literary achievement second only to the previous Golden Age (70 B.C - A.D. 18). Satire is the most vigorous. See Gwinn, et al., eds., vol. 9, 406.
32 Morris W. Croll, "Attic" and Baroque Prose Style (New Jersey: Princeton University Press, 1969).
33 John M. Steadman, Redefining a Period Style "'Renaissance, Mannerist" and "Baroque" in Literature (Pennsylvania: Duquesne University Press, 1990) 118.
34 Steadman 114.
35 Tak-Wai. Wong, Baroque Studies in English 1963-1974: A Survey & Bibliography (Richmond, Virginia: The New Academics Press, 1978) 27.
36 Shakespeare has been regarded as Renaissance (the traditional view; among Baroque scholars, Mincoff was one of those who held this view), Mannerist (Hauser, Stamm), Baroque(Walzel, Daniells, Sehucking, Swanston, Lebeque), and, at various stages, Renaissance, Mannerist, and Baroque(Syper). See Wong 78.
37 Warnke 15.
38 Levin Ludwig Schueking, "The Baroque Character of the Elizabethan Tragic Hero." Proceedings of the British Academy, ⅩⅩⅣ (1938): 85-111
39 Landrum Banks, "Dryden's Baroque Drama" Essays in Honor of Esmond Linworth Marilla, eds. Thomas A. Kirby, William O. Olive (Barton Rouge: Louisiana St. University Press, 1970) 188-200.
40 Roy Daniells, Milton, Mannerism and Baroque (Toronto: University of Toronto Press, 1963) 181.
41 R. Darby Williams, "Two Baroque Game Poems on Grace: Herbert's 'Paradise' and Milton's 'On Time'." Criticism, Ⅻ (1970): 180-94
42 This article was written by by. Rolf P. Lessenich, University of Bonn. Online:
Marvell was not an exception of that time.The age,together with his special political life,moulded his way of thinking that was full of confusion and complexity about the world in which he dwelt in.His inner conflict was expressed in his lyrics full of tension that is one of the main characteristics of Baroque era.
This brings us at last to the writings of Marvell.Marvell wrote only a small number of poems,of which a still smaller number are widely known.They are difficult to date with precision,but there seems to be a broad division between the lyrics,which belongs largely to before or during the Civil War,and the satires,which are post-Restoration.~(15) In the next chapter some of his lyrics are dealt with to fully explain his Baroque style.
Notes:
1 Wolfflin 15-23．
2 Blair Worden,"Providence and Politics in Cromwellian England",Past and Present,109(1985) :55-99(58) .
3 J. P. Kenyon,Stuart Constitution(London:Cambridge University Press,1966) 171-2．
4 Behemoth,"The History of the Causes of the Civil Wars of England",in The English Works of Thomas Hobbes,ed.Sir William Molesworth,vol.6(London,1840) ,p 191． This piece of information is again cited from the book Andrew Marvell(London:Macmillan & Co.,Limited,1905) written by Augustine Birrell.
5 Willey 105．
6 Helen Peter,John Donne:Paradoxes and Problems(Oxford:Clarendon Press,1980) 71．
7 Deborah Aldrich Larson,John Donne and Twentieth-Century Criticism(London and Toronto:Associated University Press,Inc.,1989) 115．
8 The biographical fact in this part is from the book Andrew Marvell(London:Macmillan & Co.,Limited,1905) written by Augustine Birrell.
9 Paul Dean,"World Enough and Time:The Life of Andrew Marvell.(Review)"New Criterion,vol. 18 (June 2000): 78.
10 Birrell 27.
11 Birrell 32.
12 Robert Wilcher, Andrew Marvell (London: Cambridge University Press, 1985) 107.
13 A. L. Clements, John Donne's Poetry (New York and London: W.W. Norton & Company, Inc., 1966) 113.
14 J.M. Cohen, The Baroque Lyric (London: Hutchinson U. Library, 1963) 15-6
15 Andrew Marvell, Andrew Marvell." The Complete Poems, ed. Elizabeth Story Donne (England: Penguin Education, 1981) 9-12.
1 This point of view is from Hill 117. Michelangelo (1475-1564) Italian Renaissance painter, sculptor, architect and poet, exerted an unparalleled influence on the development of western art. He was sometimes called the father of the Baroque era for the voluptuous, contorted male figures of his Sistine Chapel Frescoes, the pinnacle of his achievement in painting. See Gwinn, et al., eds., vol. 8, 96.
2 Hill 1.
3 Ernst Cassirer, An Essay on Man (New Haven: Yale University Press, 1945) 76.
4 John Dewey, The Quest for Certainty (New York: Minton, Balch & Company, 1929) 255.
5 Patrick Cullen, Spenser, Marvell, and Renaissance Pastoral (Massachusetts: Harvard University Press, 1970) 197.
6 Cullen 198.
7 J.B. Leishman, The Art of Marvell's Poetry (U.S.A: Hutchinson & Co. Ltd, 1968) 36-7.
8 Don Cameron Allen, lmage and Meaning: Metaphoric Tradition in Renaissance Poetry (Baltimore: Johns Hopkins Press, 1960) 93.
9 Marvell 246.
10 Pythagoras(580B.C.—500B.C.)Greek philosopher, mathematician and founder of the Pythagorean brotherhood. Although he was religious in nature, he formulated principles that influenced the thought of Plato and Aristotle and contributed to the development of mathematics and western rational philosophy. See Gwinn, et al., eds., vol. 9, 827.
11 Stumpf 77.
12 Jowett translation, Ⅶ, 525. For this aspect of Plato's thought, see also R. Collingwood, The Idea of Nature (London: Oxford University Press, 1967) 76.
13 Edwin Arthur Burtt, The Metaphysical Foundations of Modern Physical Science (Atlantic Highlands, New Jersey: Humanities Press, 1980) 33.
14 Plotinus, The Enneads, trans. Stephen MacKenna (London: Penguin Books, 1991)136-39
15 Catesby R. Talieferro, Plato, the Timaeus and the Critias (New York, 1945) 20.
16 B.A. G. Fuller, The History of Greek Philosophy (New York: Green-wood, 1968) 137.
17 This kind of point of view is from the article written by Rolf P. Lessenich, University of Bonn. Online:
18 Muriel Clara Bradbrook and M. G. Lloyd Thomas, Andrew Marvell (Oxford: Oxford University Press, 1940) 67.
19 Robert Ellrodt, Seven Metaphysical Poets A Structural Study of the Unchanging Self (Oxford: Oxford University Press, 2000) 140.
20 Herbert Butterfield, The Origins of Modern Science, 1300-1800 (New York: The Macmillan Company, 1957) 16.
21 Butterfield 8. For a comprehensive account of the importance of this image in seventeenth-century poetry, see M. H. Nicolson, The Breaking of the Circle (New York: Columbia University Press, 1960).
22 Ellrodt 51.
23 Marvell 102.
24 Wilcher 106.
25 Wilcher 130.
26 Hill 174.
27 Wilcher 142.
28 Leishman 317.
29 Thomas N. Corns, ed., The Cambridge Companion to English Poetry Donne to Marvell (Shanghai: Shanghai Foreign Language Education Press, 2005) 80.
30 Rosalie L. Colic, The Resources of Kind: Genre-Theory in the Renaissance, ed. Barbara Keifer Lewalski (Berkeley, Calif.: University of California Press, 1973) 3.
31 Roger Ascham(1515-1568) British Humanist, scholar and writer, was famous for his prose style, his promotion of the vernacular, and his theories of education. See Gwinn, et al., eds., vol. 1, 17.
32 William H. Race, Classical Genres and English Poetry (London: Croom Helm, 1988)chapter Ⅰ.
33 Corns 90. Callimachus(305 B.C.—240 B.C.), Greek poet and scholar, the most representative poet of the erudite and sophisticated Alexandrian school. See Gwinn, et al., eds., vol.2, 750. Persius (A.D. 34-62) was a stoic poet, whose Latin satires reached a higher moral tone than any others in classical Latin literature. See Gwinn, et al., eds., vol. 9, 310.
34 Corns 208.
35 Race 89.
36 D. B. Wilson, Descriptive Poetry in France from Blason to Baroque (Manchester: Manchester University Press, 1967) 78.
37 See Francis Cairns, Generic Composition in Greek and Roman Poetry (Edinburgh: Edinburgh University Press, 1972), with many examples.
38 Leishman 11.
39 Rosalie L. Colie is the best guide to this aspect of Marvell's poetic. See "My Echoing Song:" Andrew Marvell's Poetry of Criticism (N. J.: Princeton University Press, 1970).
40 For the sake of convenience "An Horatian Ode upon Cromwell's Return from Ireland" will be called "Horatian Ode" in the following paragraphs.
41 J. Hollander and F. Kermode eds., The Oxford Anthology of English Literature (Oxford: Oxford University Press, 1973) 1162.
42 See Gwinn, et al., eds., vol. 9, 152.
43 For their use in Renaissance schools, see D.L. Clark, John Milton at St. Paul's School: a Study of Ancient rhetoric in English Renaissance education (Columbia University Press, New York, 1948) 244-5.
44 Race 56.
45 Race 56.
46 Derek Hirst, Authority and Conflict: England 1603-1658 (London: Edward Arnold, 1986) 287.
47 In T.S. Eliot essay Andrew Marvell the Critical Heritage, he first noted the logical tendency of"To His Coy Mistress". Many later logical analyses of this poem were reviewed in John Hackdtt, "Logic and Rhetoric in Marvell's 'To His Coy Mistress'", in Tercentenary Essays in Honor of Andrew Marvell, ed. K. Friedenreich, (Hamden, Conn. 1977) 140-51.
48 Pierre Du Moulin, The Elements of Logic, trans. Henry Hall (Oxford, 1647) 128-29. This piece of information is from the article "Logic and illogic in Marvell's 'to his coy mistress'" in English Studies, (3, 1990), 246.
49 Logic and illogic in Marvell's 'to his coy mistress' in English Studies, (3, 1990), 248
50 Logic and illogic in Marvell's 'to his coy mistress' in English Studies, (3, 1990), 250.
51 N. Frye, S Baker and G. Perkins eds., The Harper Handbook to Literature (New York: Harper and Row, 1985) 89.
52 Race 80.
53 Race 134.
54 Levine Pix.
1 Wilcher 1-10.
2 See "What cultural significance did John Donne have in the Baroque Age?" in Yahoo! Answers. Online:
3 Marvell's elusiveness is asserted in Robert Ellrodt's essay on "Marvell's Mind and Mystery", in Approaches to Marvell, ed. C. A. Patrides (London: Routledge & Kegan Paul, 1978).
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5 Ellrodt 77.
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