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"Upon Appleton House": Marvell's Creation of a Liminal Realm

"Upon Appleton House": Marvell's Creation of a Liminal Realm Joan Faust Andrew Marvell has both intrigued and frustrated Early Modem scholars who seek to define his contribution to the literary canon. Commentators generally lament their inability to classify the man and his works because of Marvell's ability to blur the boundaries traditionally categorizing personality and the literary, poetic and visual arts, resulting in the "in-between" aspects of his canon.! These works come tantalizingly close to expected pastoral, carpe diem, or other conventional modes of poetry and are often compared to visual arts because of their pictorial qualities. Marvell's contribution to the country-house poem tradition, "Upon Appleton House: To My Lord Fairfax," serves as a perfect example of his characteristic blurring of boundaries. Purportedly an encomium to his patron Sir Thomas Fairfax, who led parliamentarian forces until his growing dissatisfaction with the English revolution prompted an early retirement on June 26, 1650 (Chernaik 23), "Appleton House" has prompted interpretations that run the spectrum of possible genres, from epic (Wallace 239-43) to topographical (Spencer 68-80; James Turner 49-84) to pastoral (Friedman 199-252) to typological (Ri/lstvig 172-90) to apocalyptic (Stocker 46-66) and finally, to the epideictic celebration of the Fairfax family and estate (Patterson 10110).2 What fascinates and confounds commentators http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

"Upon Appleton House": Marvell's Creation of a Liminal Realm

Faust, Joan
Explorations in Renaissance Culture , Volume 35 (1): 54 – Dec 2, 2009
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Publisher
Brill
Copyright
© Copyright 2009 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000366
Publisher site
See Article on Publisher Site

Abstract

Joan Faust Andrew Marvell has both intrigued and frustrated Early Modem scholars who seek to define his contribution to the literary canon. Commentators generally lament their inability to classify the man and his works because of Marvell's ability to blur the boundaries traditionally categorizing personality and the literary, poetic and visual arts, resulting in the "in-between" aspects of his canon.! These works come tantalizingly close to expected pastoral, carpe diem, or other conventional modes of poetry and are often compared to visual arts because of their pictorial qualities. Marvell's contribution to the country-house poem tradition, "Upon Appleton House: To My Lord Fairfax," serves as a perfect example of his characteristic blurring of boundaries. Purportedly an encomium to his patron Sir Thomas Fairfax, who led parliamentarian forces until his growing dissatisfaction with the English revolution prompted an early retirement on June 26, 1650 (Chernaik 23), "Appleton House" has prompted interpretations that run the spectrum of possible genres, from epic (Wallace 239-43) to topographical (Spencer 68-80; James Turner 49-84) to pastoral (Friedman 199-252) to typological (Ri/lstvig 172-90) to apocalyptic (Stocker 46-66) and finally, to the epideictic celebration of the Fairfax family and estate (Patterson 10110).2 What fascinates and confounds commentators

Journal

Explorations in Renaissance Culture – Brill

Published: Dec 2, 2009

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