The ninth chapter, Stephen Guy-Bray's "Andrew Marvell and Sexual Difference," offers highly intelligent and precise close readings of the form--especially the rhyme schemes, the coupling schemes--of two of Marlowe's poems, "The Definition of love" and "Ametas and Thestylis
scooping up the murdered rail to serve to the mowers responsible for its death, Marvell functions as a Sprecher figure, a character like that in Mannerist painting, in that he bridges the gap between his patron and portrayal and becomes part of the picture.
The play's correct, even lucid, but textbookish Latin is reminiscent of the university classroom and suggests student participation, as when Thestylis
, the wife of the Anabaptist peasant Meliboeus, laments, "O temporal O mores
Probably familiar to both Fairfax and Marvell, Thestylis
functions as a Sprecher figure, a character in Mannerist painting who exists in-between the world of the artist and that of the portrayal.
Given the duties accorded to her within the georgic economy briefly sketched by Marvell, Thestylis
seems to exist primarily to minimize loss in this violent economy, and to ensure that nothing lies waste in a mode intensely concerned with the frill semantic range of "waste.