The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Marvell, Andrew

Born Mar. 31, 1621, in Winestead, Yorkshire; died Aug. 16, 1678, in London. English poet.

During the English civil war, Marvell was a supporter of O. Cromwell. He was a friend and admirer of J. Milton. Initially influenced by the metaphysical school, Marvell later became one of the best English lyric poets. He eventually adopted the classical style. The poet’s republican odes and caustic satires attacking Charles II and his ministers during the Restoration are particularly well known.

WORKS

Complete Works, vols. 1-4. 1872-75.
Poems and Letters, vols. 1-2. Oxford, 1952.
The Poems. London [1963].

REFERENCES

Istoriia angliiskoi literatury, vol. 1, issue 2. Moscow, 1945. Pages 171-73.
Eliot, T. S. “Andrew Marvell.” In Selected Essays, 3rd ed. London, 1958.
Marvell: Modern Judgements. Edited by M. Wilding [London, 1969]. (Bibliography on pp. 285-88.)
Andrew Marvell: A Critical Anthology. Harmondsworth [1969]. (Bibliography on pp. 329-30.)

References in periodicals archive

"My Ecchoing Song:" Andrew Marvell's Poetry of Criticism.

Ecocritical readings of Andrew Marvell's Fairfax poems

The Life and Lyrics of Andrew Marvell. London: Macmillan, 1979.

Marvell's musical dialogues

"'Speculatory Ingenuity': Painting, Writing, and Andrew Marvell's 'Last Instructions to a Painter'" traces how the fashionable arts of painting and drawing manuals in the seventeenth century were the natural "result of manual dexterity enabled and extended by precision instruments common to mathematics, navigation, mensuration, military strategy, architecture, empirical science--and drawing" (101).

Katherine Acheson, Visual Rhetoric and Early Modern English Literature

As its title forecasts, Acheson's first chapter, "SPACE: 'The description of the worlde': Military, Horticultural, and Technical Illustration and Andrew Marvell's Gardens," brings together a set of illustrations that would seem to be unrelated.

Katherine Acheson: Visual Rhetoric and Early Modern English Literature

L'Estrange's justified fears of subversive scribal publications, in particular the potency of the polemical sting generated by the literary opposition centred around Andrew Marvell, is demonstrated in Martin Dzelzainis's re-contextualisation of a Bodleian manuscript (MS Gough 14) version of the satirical Directions to a Painter.

Anne Dunan-Page and Beth Lynch (eds), Roger L'Estrange and the Making of Restoration Culture

faces of six volunteers from the English department and six from the Science department who all read Bright Star by John Keats and To His Coy Mistress by Andrew Marvell.

THE HEAT OF PASSION

Equally interesting (and culturally fascinating) is Rosenblatt's chapter on the fiercely antagonistic book war between Andrew Marvell and Samuel Parker, in which the conservative Parker makes (unacknowledged) use of Selden's opinions on Christ as a Jewish zealot, a position infuriating to Marvell, who is ignorant of rabbinic traditions.

Renaissance England's Chief Rabbi: John Selden

One of the oldest unsolved problems of literary and revolutionary history is defining the subtle but undeniable gap between John Milton's and Andrew Marvell's politics.

Rewriting Cromwell: Milton, Marvell, and negative liberty in the English Revolution

Ranging through Andrew Marvell, Ann Finch's 'Upon the Hurricane' (1703), James Thomson's The Seasons (1726-30), and culminating in Erasmus Darwin's The Botanic Garden (1791), the essay documents and anticipates changing sensibilities in a wide-ranging survey that reveals much on the poetics of scientific discovery.

Imagining the Sciences: Expressions of New Knowledge in the 'Long' Eighteenth Century