Marvell's 'Horatian Ode' as a Political Poem

Fiction & Literature, Literary Theory & Criticism, British
Cover of the book Marvell's 'Horatian Ode' as a Political Poem by Stephanie Fuchs, GRIN Publishing
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Stephanie Fuchs ISBN: 9783638315302
Publisher: GRIN Publishing Publication: October 14, 2004
Imprint: GRIN Publishing Language: English
Author: Stephanie Fuchs
ISBN: 9783638315302
Publisher: GRIN Publishing
Publication: October 14, 2004
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: very good, University of Graz (Anglistics/American Studies), 12 entries in the bibliography, language: English, abstract: The relationship of poetry to history is a most important one, since poems arise out of the process of history and are written by men who are living in that process. Andrew Marvell's Horatian Ode upon Cromwell's Return from Ireland undoubtedly is a poem of great artistry, but above all it provides an excellent example for political poetry of seventeenth century Great Britain. Since Marvell's poem deals with historical figures and comments on a historical occasion, there is a temptation to see the poem merely as a historical document. But while it is generally recognized that the poem provides a historical account of the period, it is indeed quite complex and by no means free of political judgement. As Brooks and Warren put in their essay on the poem, 'distinguishing between a poem as a work of art and a poem as a historical document seems necessary in order to explore the intimate relationship between them' (1950). While the prosodic majesty and metrical poise of Marvell's poem has sustained universal acclaim among critics, the attention of most students of Marvell's Horatian Ode has been directed towards questions about the political ideologies expressed in the poem. We know that Marvell was not only a poet but also a political figure, but there is still no real consensus as to what Marvell's political attitudes were 'really' like. The ambiguous political views and attitudes Marvell held throughout his lifetime seem to correspond with the political ambiguity in the Horatian Ode. Critics such as David Norbrook argue that the Horatian Ode 'clearly expresses great political commitment to Oliver Cromwell' (1990), while other interpretations stress that the Ode is quite explicit in its Royalist bias. Based on these readings, the question arises whether assuming that Marvell approves or disapproves of Cromwell in an ultimate sense would not mean to over-simplify the meaning of the poem. In the following paper, I will attempt to find out about the poem's engagement with the politics of its moment, the summer of 1650. I want to approach the Horatian Ode by means of an excursus devoted to the manner in which Marvell reflects on the historical occasion of Charles's beheading and Cromwell's subjugation of Ireland. Specifically, I will attempt to show that the poem expresses a highly ambivalent and ironic attitude, and that both Royalist principles and admiration for Cromwell's achievements are present in the poem.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: very good, University of Graz (Anglistics/American Studies), 12 entries in the bibliography, language: English, abstract: The relationship of poetry to history is a most important one, since poems arise out of the process of history and are written by men who are living in that process. Andrew Marvell's Horatian Ode upon Cromwell's Return from Ireland undoubtedly is a poem of great artistry, but above all it provides an excellent example for political poetry of seventeenth century Great Britain. Since Marvell's poem deals with historical figures and comments on a historical occasion, there is a temptation to see the poem merely as a historical document. But while it is generally recognized that the poem provides a historical account of the period, it is indeed quite complex and by no means free of political judgement. As Brooks and Warren put in their essay on the poem, 'distinguishing between a poem as a work of art and a poem as a historical document seems necessary in order to explore the intimate relationship between them' (1950). While the prosodic majesty and metrical poise of Marvell's poem has sustained universal acclaim among critics, the attention of most students of Marvell's Horatian Ode has been directed towards questions about the political ideologies expressed in the poem. We know that Marvell was not only a poet but also a political figure, but there is still no real consensus as to what Marvell's political attitudes were 'really' like. The ambiguous political views and attitudes Marvell held throughout his lifetime seem to correspond with the political ambiguity in the Horatian Ode. Critics such as David Norbrook argue that the Horatian Ode 'clearly expresses great political commitment to Oliver Cromwell' (1990), while other interpretations stress that the Ode is quite explicit in its Royalist bias. Based on these readings, the question arises whether assuming that Marvell approves or disapproves of Cromwell in an ultimate sense would not mean to over-simplify the meaning of the poem. In the following paper, I will attempt to find out about the poem's engagement with the politics of its moment, the summer of 1650. I want to approach the Horatian Ode by means of an excursus devoted to the manner in which Marvell reflects on the historical occasion of Charles's beheading and Cromwell's subjugation of Ireland. Specifically, I will attempt to show that the poem expresses a highly ambivalent and ironic attitude, and that both Royalist principles and admiration for Cromwell's achievements are present in the poem.

More books from GRIN Publishing

Cover of the book Strategic Changes for Business Models in the German Retail Banking Industry in the Post Financial Crisis Era by Stephanie Fuchs
Cover of the book 'A Midsummer Night's Dream' and 'The Tempest' in the mirror of changing critical approaches by Stephanie Fuchs
Cover of the book Analysis of the Chilean tourism market - products and opportunities for the destination Pucón and the IXth region by Stephanie Fuchs
Cover of the book The Arise of the National Idea and National Extremism in Post-Communist Central and Eastern Europe by Stephanie Fuchs
Cover of the book The effect of foreign subcontractors on the german building industry by Stephanie Fuchs
Cover of the book Restrictions of Internet provided services in the People's Republic of China by Stephanie Fuchs
Cover of the book International Marketing Plan - Madame Tussauds by Stephanie Fuchs
Cover of the book Improving the cooperation of a mixed United Arab Emirates-China project team by Stephanie Fuchs
Cover of the book Cockney and Estuary English. A comparison by Stephanie Fuchs
Cover of the book Are Chopin's 'The Awakening' and Cody's 'Candy Girl' 'feminist' texts? by Stephanie Fuchs
Cover of the book The Effect of the Internet on Sales Management by Stephanie Fuchs
Cover of the book Township Tours in Southafrica by Stephanie Fuchs
Cover of the book From Germany to the United States to Germany: Emigration and Remigration Between 1800 and 1914 by Stephanie Fuchs
Cover of the book The Representation of Gender and Sexuality in 'Ulysses' by Stephanie Fuchs
Cover of the book Methods of Foreign Language Teaching in the 19th and 20th Century by Stephanie Fuchs
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy