By Elizabeth Story Donno
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Extra resources for Andrew Marvell : the critical heritage
Note on the Text In general, the copytext is that of the earliest printing, with abbreviations and contractions expanded, modern typographical conventions followed, and insignificant printing errors corrected. For texts originally printed in italic with proper names in roman, a reverse procedure has been followed. Selected original notes are indicated by asterisks, explanatory notes by a numerical sequence. Place of publication is indicated only when it is other than London. In place of long quotations from Marvell's writings, bracketed references have been inserted, keyed to the following editions: Grosart The Complete Works in Verse and Prose of Andrew Marvell, ed.
Finally, at the end of the nineteenth century and the beginning of the twentieth, comes the singular stress on his achievement as poet. D. Clutton-Brock, More Essays on Books; Faber & Faber Ltd and Mrs Valerie Eliot and Harcourt Brace Jovanovich, Inc. Eliot. ; The Huntington Library, San Marino, California, for Nos 1, 3, 6, 9, 12, 16, 17, 19, 20, 22, 23, 31, 32, 33, 34, 36, 39, 42, 43, 46, 48, 53, 62, 66; Macmillan London and Basingstoke for Augustine Birrell, Andrew Marvell; Macmillan Publishing Co.
The authorship of Mr. Smirke: Or, the Divine in Mode, as Marvell entitled his pamphlet, was again recognized despite the pseudonymous ‘Andreas Rivetus, Junior’ on the title page. For his third and most seriously intended polemic of 1677, he ignored literary and theatrical allusions altogether, calling his work An Account of the Growth of Popery and Arbitrary Government in a conjunction of terms that were destined to become religious and political watchwords. Of his five pamphlets, this was considered the most inflammatory.
Andrew Marvell : the critical heritage by Elizabeth Story Donno