The Garden

Marvell, Andrew

doi:10.1093/oseo/instance.00017833

Cited by 5 publications

(8 citation statements)

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“…88 Mansfield adds a queer dimension to Marvell's 'am'rous' feelings toward nature as Bertha is aroused by the visual rhyme between pear and Pearl, the silvery garden and Pearl's silvery dress, which combine to 'fanfanstart blazingblazingthe fire of bliss'. 89 Like the passions recounted by Marvell, this gasping fervour ends its 'race' 'in a tree', a pear tree in Bertha's garden. 90 When Bertha closes her eyes, she 'see[s] on her eyelids the lovely pear tree with its wide open blossoms', just as the daffodils flash on the Wordsworthian isolate's 'inward eye'.…”

Section: Talking About Solitude: Real and Fictional Conversationsmentioning

confidence: 97%

“…34 In the same spirit, Wordsworth rejoices in the daffodils and feels them reverberating in his own person, 'flash[ing] upon that inward eye / Which is the bliss of solitude'. 35 Moreover, just as the Marvellian isolate stresses the 'straight' 'resemblance' between thought and object, 36 Wordsworth reiterates the pleasures of the 'lonely wood', where one hears … no sound Which the heart does not make, or else so fit[s] To its own temper that in external things No longer seems internal difference … things that are without Live in our minds as in their native home. 37 Glossing over whether this exquisite 'fit' between self and things is altogether seamless or a matter of nipping and tucking, these isolates suggest that nature is not simply a surrogate for society and its difficult compacts and compromises.…”

Section: Imagining Solitude: Between An Emotional Vernacular and An A...mentioning

confidence: 99%

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‘We Talked about Solitude’: Katherine Mansfield, Virginia Woolf, and Affective Bonding

Alexander¹

2023

Critical Quarterly

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Before they met in 1917, Virginia Woolf envisioned a peculiar setting for her first encounter with Katherine Mansfield, the promising young writer who had 'dogged [her] steps for three years'. Intriguingly, Woolf imagined she might glimpse Mansfield, not in the drawing-room of a mutual friend or at a literary soirée, but 'on a rock or in the sea'there, 'I shall accost her'. 1 Woolf pictures Mansfield in an attitude reminiscent of Frederic Leighton's Solitude (1890), an allegorical painting of a 'woman draped in white, sitting on a rock' overlooking the sea, mentioned in Mansfield's 1915 short story, 'Autumns: II'. 2 This allusion reveals acute attention to Mansfield's early work, as well as a tendency to imagine the New Zealand outsider in a liminal position, tricked out in classical trappings but on a promontory of her own. It seems that, for Woolf, Mansfield's allure was mixed up with her air of solitude. Indeed, solitude would draw these writers together as a magnet, a fertile ground for 'accost'. Woolf 's image proved strangely prescient as if, already attuned to the sound of 'waves breaking', she had somehow anticipated Mansfield's declaration in her diary, 'All that I writeall that I amis on the border of the sea'. 3 If Woolf assumed she could identify Mansfield as a 'sign' of solitude (not merely the signature of her own work, but a citation of longstanding pictorial traditions), it is worth recognising that we, their readers, also approach these figures through the iconography of solitude developed by their contemporaries and cultural legatees. For instance, when Mansfield's husband John Middleton Murry edited her journal for posthumous publication, he presented Mansfield as the female isolate par excellence, adding subheadings like 'Femme Seule', 'Being Alone', and 'Living Alone'. 4 Similarly, in 1930, Cecil Beaton described Woolf as a fragile 'sea-anemone' that 'curls up at contact with the outer world', a marine image that influenced her popular representation for decades (despite her indignation), perhaps because it anticipated her suicide by drowning in 1941. 5

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Section: Talking About Solitude: Real and Fictional Conversationsmentioning

confidence: 97%

Section: Imagining Solitude: Between An Emotional Vernacular and An A...mentioning

confidence: 99%

‘We Talked about Solitude’: Katherine Mansfield, Virginia Woolf, and Affective Bonding

Alexander¹

2023

Critical Quarterly

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“…As he stood, sighing, the wind blew through the reeds and produced a thin plaintive sound" (Ovid 1955: 47-48). 9 This metamorphosis, a primal scene of music making, is a topos in later poems, including "The Garden" by Andrew Marvell (1978), who describes how "Pan did after Syrinx speed, / Not as a Nymph, but for a Reed" (ll. 31-32), or "Hymn of Pan" by Percy Bysshe Shelley (2002), who begins by celebrating the "sweet pipings" of the god (l. 5) but ends by questioning this identification: I pursued a maiden and clasped a reed.…”

Section: The Reading Eyementioning

confidence: 99%

“What Is Historical Poetics?”

Prins

2016

Modern Language Quarterly

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In posing questions about what is “historical” and what counts as “poetics,” historical poetics cannot separate the practice of reading a poem from the histories and theories of reading that mediate our ideas about poetry. While nineteenth-century verse cultures revolved around reading by generic recognition, a reading of poetry as a form of cognition emerges among later critics like I. A. Richards, who illustrates how a line from Robert Browning is read in the mind’s eye, as if in the present tense. But Browning was already doing a version of historical poetics, in writing “Pan and Luna” as a poem about reading other poems about Pan, among them “A Musical Instrument,” by Elizabeth Barrett Browning. In the composition and reception of her poem, we see how Victorian poetry foregrounds its multiple mediations, including the mediation of voice by meter as a musical instrument. The recirculation of her popular poem through citation and recitation, illustration and anthologization, prosody and parody, demonstrates a varied history of thinking through—simultaneously “about” and “in”—verse.

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“…In the classical variety (Theocritus's Idylls , the Eclogues of Virgil), these shepherds play pipes and engage in singing contests; in the Renaissance, they are the simple, contented denizens of rural villages, or garden‐idling lovers, oblivious to all but themselves, a few thistles, and the scent of eglantine. The idea is that green places breed mentalities not like our own, either because they belong to natural or naïve (green) people, who do not think as we (sophisticated, modern people) do; or – and this is different – because they are places where we (sophisticated, modern people) go to think less , to simplify our thoughts and lives; or – and this is different still – because they provide an imaginative space in which to ‘Annihilat[e] all that's made/ To a green Thought in a green Shade’, as Andrew Marvell put it in ‘The Garden’: where ‘green thought’ is a name for the imagination, or literature, vehicles by way of which we leave the real world behind to conjure unreal things . Of course, the reverse is also true: these vehicles enable us to connect with rather than escape from others, to share ‘a sort of sensibility held in common’.…”

Section: Pastoral's Double Feelingmentioning

confidence: 99%

Bleak House: pastoral

Greiner¹

2013

Critical Quarterly

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The Garden

Cited by 5 publications

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‘We Talked about Solitude’: Katherine Mansfield, Virginia Woolf, and Affective Bonding

‘We Talked about Solitude’: Katherine Mansfield, Virginia Woolf, and Affective Bonding

“What Is Historical Poetics?”

Bleak House: pastoral

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