By Elizabeth Story Donno
The serious history gathers jointly a wide physique of serious resources on significant figures in literature. every one quantity offers contempoprary responses to a writer's paintings, allowing scholars and researchers to learn the fabric themselves.
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Additional resources for Andrew Marvell: The Critical Heritage
Now ’tis very probable, that which gave the principal hint to our Authors Rehearsal Transpros’d, was the near accord he observes betwixt the Preface [of Parker] and Mr. Bayes his Prologue, P. 14. [I, p. 9] and here, I cannot but applaud his admirable dexterity that could extract four Acts of a Farce, from a single Pro-logue, but such 28 THE CRITICAL HERITAGE is the singular felicity of some Animadverters, (and of ours amongst the rest) in their illustrating of Authors, that they have heighten’d and refin’d some of their Notions, not only above all others, but above even the intentions of the dull Authors themselves; A rare Art!
This is pag. 160. 3 It is a pretty Tale, I confess, but so miserably foisted in, that whoever will consult the fore-cited Page, cannot but allow with me, that our Disputant is better capacitated to maintain an Argument (in his own Phrase) with a rude bustling Carman, or a Porter in the street, then with an Ecclesiastical Politician. Thus having rais’d and rang’d in order his Martial Phantomes, he sets them a fighting through all the Tropes and Figures of Rhetorick. He knew this way of resolving controversie into Ecclesiastical Combat, and deeds of Chivalry, would delight, amuse, and all that: Besides he had a politick fetch or two in it, for these Warlike Notions, 1 Smectymnuus was the title of a cabal of Presbyterians, twice defended by Milton.
328). 36 THE CRITICAL HERITAGE Calling Marvell ‘a true whelp of Old Martyns,’ perhaps following up a hint in Richard Leigh, Parker, in a ‘lucky hit,’ attempts to place him in the tradition of the Martin Marprelate controversial style. Extracts from A Reproof to the Rehearsal Transposed, in A Discourse to its Authour, 1673: To the Reader, A2; pp. 113, 226–7, 268–71. When I first condemn’d my self to the drudgery of this Reply, I intended nothing but a serious Prosecution of my Argument; and to let the World see that it is not reading Histories, or Plays, or Gazzets, nor going a Pilgrimage to Geneva, nor learning French and Italian, nor passing the Alps, nor being a cunning Gamester that can qualify a man to discourse of Conscience and Ecclesiastical Policy, in that it is not capping an Argument with a story that will answer it, nor clapping an Apothegm upon an Assertion that will prove it, nor stringing up Proverbs and Similitudes upon one another that will make up a Coherent Discourse.
Andrew Marvell: The Critical Heritage by Elizabeth Story Donno