By Elizabeth Story Donno
The severe historical past gathers jointly a wide physique of serious assets on significant figures in literature. every one quantity provides contempoprary responses to a writer's paintings, allowing scholars and researchers to learn the cloth themselves.
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Additional info for Andrew Marvell: The Critical Heritage
58). Benson’s use of the phrase ‘force with grace’ to decribe the ‘Horatian Ode’ (No. 79). ’ Later on, when speaking of ‘Clorinda and Damon,’ he again remarks on its element of surprise, adding that Poe considered it to be of the highest importance. Bickley’s remarks on ‘the gift of sudden inevitability,’ which, as he points out, represents Arnold’s distinction between ‘classic’ and ‘romantic’ (No. 96). ’21 Consequently, he observes, in such poetry there is a ‘very narrow’ difference between imagination and fancy.
And this feat is perform’d by no other Magick then Regula Duplex, turning Prose into Verse, and Verse into Prose alternativè. See what Miracles men of Art can do by Transversing Prefaces, and Transprosing Playes. But to go on with our Prologue, (so the Animadverter will warrant me now to call the Preface) our Critick hath found a flaw in it, and what’s that? It has no Plot. How, a Prologue without a Plot! It is impossible, tis a cross-graind objection this, and not easily evaded, had not our Critick plaid Mock-Apologist and answered himself, P.
Historical critics, in turn, sorted themselves into compartments, signaled by their multiple points of departure, with the result that some of them frequently seemed to go beyond an approach that on its own terms stresses literary contexts within the social and political confines of a particular era. First of all, there were those who endeavoured to place Marvell within a particular literary tradition, the rhetorical, for example, where he was considered as having employed common Renaissance techniques—rather than sounding certain notes not to be heard again until the nineteenth century.