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Elegiac and Commendatory Verse: Visualizing Poetic Community Elegiac and Commendatory Verse: Visualizing Poetic Community
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Frontispiece Portraits: Visualizing Authorial Identity Frontispiece Portraits: Visualizing Authorial Identity
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Conclusion Conclusion
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14 Visualizing Marvell
Get accessKatherine Acheson is Professor of English and Associate Dean of Arts at the University of Waterloo in Ontario, Canada. She is editor of The Memoir of 1603 and the Diary of 1616‒1619 by Anne Clifford (2006), author of Visual Rhetoric and Early Modern English Literature (2013) and Writing Essays About Literature (2010), and editor of Early Modern English Marginalia (2018).
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Published:14 March 2019
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Abstract
Marvell’s poetry is distinguished by its preoccupation with forms, practices, and theories of the visual and plastic arts. Among the many fields of visual culture in which Marvell’s imagination played is that of print itself. This chapter focuses on visual features of print that might contribute to our understanding of Marvell’s identity as a poet within the culture in which his work circulated. First, the chapter considers Marvell’s early printed elegies and commendatory verses and how their layout represents the early modern poet in print. Second, the chapter considers the frontispiece portrait of Marvell printed in Miscellaneous Poems in the context of seventeenth-century portraits of poets and in relation to critical reception of his work in more recent times. The chapter demonstrates how visual evidence can lead to deeper understanding of how poets imagined themselves and their work in relation to their audiences, their genres and modes, and their peers.
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