Andrew Marvell was an English metaphysical poet who sat in the House of Commons. His satires won him awards during his lifetime and he is best known for his poem, ‘To His Coy Mistress.’ In keeping with his contemporaries, Marvell’s poetry is noted for its strict adherence to traditional forms. He was also a friend of fellow poet, John Milton.
‘To His Coy Mistress’ urges seizing love now, using witty metaphors to highlight the fleeting nature of time and beauty.
Had we but world enough, and time,
This coyness, Lady, were no crime
We would sit down and think which way
To walk and pass our long love's day.
‘A Dialogue Between the Soul and Body’ portrays the soul and body in conflict, each blaming the other for their shared turmoil.
O who shall, from this dungeon, raise
A soul enslav’d so many ways?
With bolts of bones, that fetter’d stands
In feet, and manacled in hands;
‘Bermudas’ depicts pilgrims escaping persecution, finding hope and bounty in the lush landscapes of the Bermudas.
Where the remote Bermudas ride
In th’ ocean’s bosom unespy’d,
From a small boat, that row’d along,
The list’ning winds receiv’d this song.
‘Eyes and Tears’ uses metaphysical conceits to explore tears’ truth over sight, blending emotion with nature and divine grace.
How wisely Nature did decree,
With the same Eyes to weep and see!
That, having view’d the object vain,
They might be ready to complain.
‘On a Drop of Dew’ reflects the soul’s heavenly yearning, likening it to a dew’s transient purity on earth, longing for its origin.
See how the orient dew,
Shed from the bosom of the morn
Into the blowing roses,
Yet careless of its mansion new,
Marvell’s ‘The Coronet’ reflects on crafting a pure tribute to Christ, only to find it tainted by pride, seeking redemption in humility.
When for the thorns with which I long, too long,
With many a piercing wound,
My Saviour’s head have crowned,
I seek with garlands to redress that wrong:
‘The Definition of Love’ portrays love as born from despair and impossibility, forever thwarted by fate, yet eternally profound.
My love is of a birth as rare
As ’tis for object strange and high;
It was begotten by Despair
Upon Impossibility.
‘The Fair Singer’ depicts surrender to a woman’s dual charm of beauty and voice, showcasing love’s irresistible, conquering power.
To make a final conquest of all me,
Love did compose so sweet an enemy,
In whom both beauties to my death agree,
Joining themselves in fatal harmony;
‘The Gallery’ explores love’s complexities through a soul’s gallery of Clora’s images, revealing deep infatuation and conflict.
Clora, come view my soul, and tell
Whether I have contrived it well.
Now all its several lodgings lie
Composed into one gallery;
‘The Garden’ by Marvell praises contemplative life’s serenity over action, finding true peace in nature’s quiet, lush embrace.
How vainly men themselves amaze
To win the palm, the oak, or bays,
And their uncessant labours see
Crown’d from some single herb or tree,
‘The Nymph Complaining For The Death Of Her Faun’ mourns a fawn’s death, blending innocence, loss, and nature’s purity against human cruelty.
The wanton troopers riding by
Have shot my fawn, and it will die.
Ungentle men! they cannot thrive
To kill thee. Thou ne’er didst alive
‘The Picture of Little T.C. In A Prospect of Flowers’ celebrates young T.C.’s purity amidst flowers, hinting at her future battles with love.
See with what simplicity
This nymph begins her golden days!
In the green grass she loves to lie,
And there with her fair aspect tames
‘The Unfortunate Lover’ weaves a tale of a life marred by misfortune, exploring love and resilience amidst ceaseless adversity.
Alas, how pleasant are their days
With whom the infant Love yet plays!
Sorted by pairs, they still are seen
By fountains cool, and shadows green.
‘Young Love’ blends carpe diem with metaphysical wit, urging love against fate’s uncertainty in a compressed, persuasive style.
Come, little infant, love me now,
While thine unsuspected years
Clear thine agèd father’s brow
From cold jealousy and fears.
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