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1

Surprised by Death, or How Andrew Marvell’s Mower Confronts Death in Arcadia

100%

Łączyńska K.

Anglica. An International Journal of English Studies

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2016

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issue 25/1

27-34

XX

Death’s crude statement: “Et in Arcadia ego,” does not spring surprise on us, as it is a recognizable pastoral convention. But for the naïve and innocent inhabitant of any type of literary Arcadia this is a moment of wonder. Surprised by Death, the coarse Mower of Andrew Marvell’s pastoral poems struggles with the unfamiliar. Unaware of the world of urbane manners and unschooled in the ars moriendi, he translates the new, puzzling and painful experience into the familiar concepts of his everyday labours. His mind displaced, he looks for the confirmation of his identity in the mirror of his scythe, and when the latter accidentally cuts into his own ankle, the moment of ostensibly naïve anagnorisis of the natural man turns into the revelation of the conventional symbol. “Death, thou art a mower too,” concludes the clown in a way that may sound simple-minded, but at the same time, has an obvious, though on his part unconscious, reference to a well-known cultural myth. The aim of this paper is to trace the ways Marvellian pastoral personae cope with the wonder of Death by digesting the unfamiliar into the conventional and the aesthetic.

2

From Masque to Masquerade: Monarchy and Art in Andrew Marvell’s Poems

75%

Łączyńska K.

Anglica. An International Journal of English Studies

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2014

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issue 23/1

115-127

EN

A considerable number of Andrew Marvell’s poems contain reference to various forms of visual arts. Marvell’s use of this type of imagery frequently leads to some type of transformation of a psychological, spiritual, political or social reality, with more or less overt allusions to the Neoplatonic notions of sublimation. However, this predominantly Neoplatonic notion of art, characteristic of Marvell’s earlier lyrics, disappears from his Restoration poems. In the satires, art, instead of idealising and elevating the corporeal, is rather dragged into the sphere of matter, where, together with the objects of the poet’s mockery, it undergoes a carnivalesque deformation. Such a degradation or carnivalisation of art imagery in Marvell’s Restoration satires is not only generically conditioned, but has its roots in the political, social and philosophical legacy of the Republic.

3

Female Images in European Baroque Poetry (Based on the Verses of Ivan Velychkovsky, Danylo Bratkovsky, Robert Herrick, and Andrew Marvell)

63%

Boiko S.

Studia Polsko-Ukraińskie

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2020

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vol. 7

30-37

EN

The following paper explores the specificity of female images with regard to the peculiarities of their formation in European poetry of the Baroque period on the examples of Ivan Velychkovsky’s works. The oeuvre of this striking representative of seventeenth-century Ukrainian literature is compared with the verses of the Polish-language author Danylo Bratkovsky as well as English Baroque epigrams by Robert Herrick and verses by Andrew Marvell. Comparison of poetic specimens belonging to different linguistic and cultural spaces is possible because, in spite of the different local mentality, all the above-mentioned poets are carriers of the common Baroque worldview formed on the basis of the Holy Scripture, Christian theology, and the heritage of Greek and Roman antiquity. In the course of our research, we observed the existence of common Baroque poetry traits (regardless of the place of genesis and confessional affiliation) in the perception of women and the formation of female images. All of the mentioned poets followed the bipolarity and Baroque antithesis of women’ imagery. All of them, in one way or another, derive their judgments from the reception of the established biblical stereotypes. In view of the insufficient reflection on this issue in contemporary Ukrainian literary criticism and in order to arrive at a more comprehensive outline of female images in the seventeenth-century poetry, we use a method of comparing Ukrainian, Polish, and English samples of Baroque verses in terms of their features and traits, characteristic for the works of this period. This article proposes to create a generalised Baroque image of the woman, outlining her place in the society at that time, by comparing the works of the representatives of different local mentalities.

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2 Anglica. An International Journal of English Studies

1 Studia Polsko-Ukraińskie

2 Łączyńska K.

1 Boiko S.

1 2021

1 2016

1 2014

Surprised by Death, or How Andrew Marvell’s Mower Confronts Death in Arcadia

From Masque to Masquerade: Monarchy and Art in Andrew Marvell’s Poems

Female Images in European Baroque Poetry (Based on the Verses of Ivan Velychkovsky, Danylo Bratkovsky, Robert Herrick, and Andrew Marvell)