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Extra info for Andrew Marvell, the Critical Heritage (The Critical Heritage Series)
On the other, there was a distinct falling off of interest in the prose works, with the RT and Mr. 18) Equally, there was a falling off of the image of the incorruptible patriot, with Alice Meynell (No. 84), for one, commenting on the ‘portly dulness of the mind’ that could term Marvell the ‘British Aristides,’ a narrow reflection on the efforts of Thomas Cooke whose two printings of the poems and letters had been ‘pillaged’ by so many others. A compensation of sorts was the developing realization that as a result of his public commitment there had been ‘the loss of a great English poet’ (No.
14 Both Cooke and Thompson proclaimed it, with the result that the notion filtered into the nineteenth century to be reported by others. It was being repeated in England in the Civil Service Handbook of English Literature as late as 1874 and in the United States in the comments of a dull Lutheran divine as late as 1877 (No. 76). During the last decades of the seventeenth century and throughout the eighteenth, Marvell's charismatic image as witty satirist and incorruptible patriot bears out John Ormsby's observation that had he been less brilliant as a patriot, he would have been more conspicuous as a poet (No.
Hood (1853), represent wayward growths grafted to received accounts. Third, the situation obtains in reference to critical aperçus, where the repetitive factor may be accounted for on several grounds. As pointed out earlier, the concise statement on Marvell's poetry in Aikin's General Biography (1799–1815) was frequently repeated— for instance, by John Gorton, whose General Biographical Dictionary appeared in 1851 and was to be reissued many times—so that the judgment itself passed into general currency.