Titlebook: Marvell and Liberty; Warren Chernaik (Professor of English Literature, Book 1999 Palgrave Macmillan, a division of Macmillan Publishers L

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MAPLE

Introduction,ngdom, France, Australia, Canada, and the USA, and could be said to represent the current state of scholarship on Andrew Marvell and on the relationship between literature and its historical context in the seventeenth century.

周興旺

,‘As one scap’t strangely from Captivity’: Marvell and Existential Liberty,lution of predictability both within the line and at the line-turn. In prosody, Andrew Marvell is a strict disciplinarian, as a brief comparison will make clear. Here is a characteristic stanza about the disarray of the flood in ‘Upon Appleton House’:

發(fā)怨言

Book 1999lume show, also exercised a potent political influence after his death. Marvell and Liberty constitutes a major reassessment of a figure who lived much of his life close to the epicentre of the revolutionary upheavals of the seventeenth century.

Atrium

moratorium

Chemotherapy

,‘Every conqueror creates a muse’: Conquest and Constitutions in Marvell and Waller,s Nation’? Waller s poem is an argument for the legitimacy of Cromwell’s Protectorate, on the grounds of patriotism, rational self-interest, and conquest theory. The ‘wars and fortunes son’ is metamorphosed into a man of peace, the regicide into a wise and benevolent monarch, a restorer of order rather than a powerful, feared agent of destruction.

高度

,Liberty Transpros’d: Andrew Marvell and Samuel Parker,ple. Samuel Parker was an Anglican convert who had embraced the authoritarian and absolutist doctrines of Hobbes. Marvell, by contrast, was defending the idea of Christian liberty; he was a constitutional whig in a tradition which included Milton and Locke..

豐滿(mǎn)有漂亮

The Lost Rhetoric of Liberty: Marvell and Restoration Drama,promised, so that the real engagement of the drama with party politics is underestimated. Critics who avoid the danger of writing out political engagement in Restoration drama sometimes fall into a different trap: a denial of opposition, an assumption that the drama was, in Douglas Canfield’s phrase, ‘Royalism’s Last Dramatic Stand’..