By N. Maltzahn

This well timed and definitive chronology of Andrew Marvell is an invaluable source for any pupil, historian, literary student or normal reader drawn to the lifestyles and works of this nice author. a part of the Palgrave writer Chronologies sequence, this new reference paintings through Professor Nicholas von Maltazhn enhances the present resurgence of curiosity during this canonical author by means of delivering in-depth and new biographical element as a context for Marvell's paintings.

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Extra info for Andrew Marvell Chronology (Author Chronologies)

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Andrew Marvell licensed as a preacher. (Marchant 262) November 12 (Sunday) In Winestead, AM’s grandmother ‘Ann Pease widow was buryed’, as registered by her son-in-law, the rev. Andrew Marvell. (Yorks. East Riding RO, PE 125/1/17v) 1621 March 31 (Saturday) In Winestead, ‘Andrewe the sonne of Andrew Marvell borne Martii ultimo being Easter-even was baptized Apr: 5to’, as registered by his father. (Yorks. East Riding RO, PE 125/1/4v) 1623 September 7 (Sunday) In Winestead, ‘John the sonne of Andrew Marvell borne 7bris 7mo was baptized Sept: 9no’, as registered by his father.

Although silent on the execution of Charles I, ‘To his Noble Friend, Mr. Richard Lovelace, upon his Poems’ may date as late as May 1649, since such materials might be incorporated late in the publication of such a volume, which is only then registered with the Stationers (14 May 1649), coming to Thomason’s hands 21 June 1649. AM’s poem is followed by John Hall’s commendatory verses; in 1649 33 some copies of the book, these poems are given pride of place after the dedication. Poems by Lovelace are echoed in a number of AM’s poems.

These include ‘On a Drop of Dew’ and its Latin twin ‘Ros’ (drawing on Crashaw’s ‘Eyes and Tears’ in Steps to the Temple, 1646), as well as ‘The Nymph Complaining’ (drawing on Richard Fanshawe’s translation of Il Pastor Fido; Smith 65–71). Still more difficult to date are AM’s ‘Young Love’, ‘Eyes and Tears’, and ‘The Fair Singer’ (the latter may recall a line from Areopagitica, Smith 72–4, 96–7). If it is AM who rewrites Henry Ramsay’s ‘A Dialogue [between Thyrsis and Dorinda]’, it may well be now that he revises the shorter original version, which had been set to music by William Lawes (d.

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