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<rss xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:podcast="https://podcastindex.org/namespace/1.0" xmlns:media="http://search.yahoo.com/mrss/" version="2.0"><channel><title>Poems and Some Satires of Andrew Marvell</title><link>https://www.spreaker.com/podcast/poems-and-some-satires-of-andrew-marvell--7069164</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><atom:link href="https://www.spreaker.com/show/7069164/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Historical Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg</url><title>Poems and Some Satires of Andrew Marvell</title><link>https://www.spreaker.com/podcast/poems-and-some-satires-of-andrew-marvell--7069164</link></image><lastBuildDate>Mon, 24 Aug 2026 10:51:56 +0000</lastBuildDate><itunes:author>Andrew Marvell</itunes:author><itunes:owner><itunes:name>Historical Genre</itunes:name><itunes:email>spreaker57@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:category text="Arts"><itunes:category text="Books"/></itunes:category><itunes:category text="History"/><itunes:category text="Government"/><itunes:explicit>false</itunes:explicit><podcast:guid>dc53d513-7e14-5060-824d-0b35c8b6572f</podcast:guid><itunes:type>episodic</itunes:type><item><title>Collected Poems of Rupert Brooke-Rupert Brooke</title><link>https://www.spreaker.com/episode/collected-poems-of-rupert-brooke-rupert-brooke--74408525</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74408525</guid><pubDate>Mon, 24 Aug 2026 09:04:27 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74408525/collected_poems_of_rupert_brooke_rupert_brooke.mp3" length="104058702" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>12995</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Love Songs (Version 2)-Sara Teasdale</title><link>https://www.spreaker.com/episode/love-songs-version-2-sara-teasdale--74355696</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74355696</guid><pubDate>Sun, 23 Aug 2026 09:04:15 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74355696/love_songs_version_2_sara_teasdale.mp3" length="28032530" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>3501</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems by Charles Harpur-Charles Harpur</title><link>https://www.spreaker.com/episode/poems-by-charles-harpur-charles-harpur--74209647</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74209647</guid><pubDate>Sat, 22 Aug 2026 09:03:38 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74209647/poems_by_charles_harpur_charles_harpur.mp3" length="37503118" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>4683</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Muse and Mint-Walter Seymour Percy</title><link>https://www.spreaker.com/episode/muse-and-mint-walter-seymour-percy--74156088</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74156088</guid><pubDate>Fri, 21 Aug 2026 09:04:04 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74156088/muse_and_mint_walter_seymour_percy.mp3" length="71688196" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>8952</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Satires of Circumstance, Lyrics and Reveries, with Miscellaneous Pieces-Thomas Hardy</title><link>https://www.spreaker.com/episode/satires-of-circumstance-lyrics-and-reveries-with-miscellaneous-pieces-thomas-hardy--74109188</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74109188</guid><pubDate>Thu, 20 Aug 2026 09:04:12 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74109188/satires_of_circumstance_lyrics_and_reveries_with_miscellaneous_pieces_thomas_hardy.mp3" length="106848720" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>13343</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>West-Francis S. Borton</title><link>https://www.spreaker.com/episode/west-francis-s-borton--74074032</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74074032</guid><pubDate>Wed, 19 Aug 2026 09:04:03 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74074032/west_francis_s_borton.mp3" length="26099320" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>3259</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>G.T.T., or The Wonderful Adventures of a Pullman-Edward Everett Hale</title><link>https://www.spreaker.com/episode/g-t-t-or-the-wonderful-adventures-of-a-pullman-edward-everett-hale--74035155</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74035155</guid><pubDate>Tue, 18 Aug 2026 09:04:58 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74035155/g_t_t_or_the_wonderful_adventures_of_a_pullman_edward_everett_hale.mp3" length="143790068" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>17956</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Frankenstein, or The Modern Prometheus (Edition 1831)-Mary Wollstonecraft Shelley</title><link>https://www.spreaker.com/episode/frankenstein-or-the-modern-prometheus-edition-1831-mary-wollstonecraft-shelley--73972362</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73972362</guid><pubDate>Mon, 17 Aug 2026 09:04:58 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73972362/frankenstein_or_the_modern_prometheus_edition_1831_mary_wollstonecraft_shelley.mp3" length="252257070" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>31500</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Tudor and Stuart Love Songs-John Potter Briscoe</title><link>https://www.spreaker.com/episode/tudor-and-stuart-love-songs-john-potter-briscoe--73929683</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73929683</guid><pubDate>Sun, 16 Aug 2026 09:04:58 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73929683/tudor_and_stuart_love_songs_john_potter_briscoe.mp3" length="67445709" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>8422</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Augustan Books of Modern Poetry Emily Brontë-Emily Brontë</title><link>https://www.spreaker.com/episode/augustan-books-of-modern-poetry-emily-bronte-emily-bronte--73887285</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73887285</guid><pubDate>Sat, 15 Aug 2026 09:07:16 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73887285/augustan_books_of_modern_poetry_emily_bronte_emily_bronte.mp3" length="22959229" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>2867</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Child's Garden of Verses (Version 4)-Robert Louis Stevenson</title><link>https://www.spreaker.com/episode/child-s-garden-of-verses-version-4-robert-louis-stevenson--73801066</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73801066</guid><pubDate>Tue, 11 Aug 2026 05:43:36 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73801066/child_s_garden_of_verses_version_4_robert_louis_stevenson.mp3" length="36943615" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>4614</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Lake Lyrics and Other Poems-William Wilfred Campbell</title><link>https://www.spreaker.com/episode/lake-lyrics-and-other-poems-william-wilfred-campbell--73770172</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73770172</guid><pubDate>Mon, 10 Aug 2026 17:44:01 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73770172/lake_lyrics_and_other_poems_william_wilfred_campbell.mp3" length="71373280" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>8913</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>War poems and other verses-Robert Ernest Vernède</title><link>https://www.spreaker.com/episode/war-poems-and-other-verses-robert-ernest-vernede--73741777</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73741777</guid><pubDate>Mon, 10 Aug 2026 05:57:07 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73741777/war_poems_and_other_verses_robert_ernest_verne_de.mp3" length="32297429" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>4033</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems and Some Satires of Andrew Marvell - Andrew Marvell</title><link>https://www.spreaker.com/episode/poems-and-some-satires-of-andrew-marvell-andrew-marvell--73320449</link><description><![CDATA["Poems and Some Satires of Andrew Marvell" showcases the wit and depth of one of the 17th century's most significant poets. Marvell's work explores themes of love, nature, and the complexities of human experience through a blend of lyrical beauty and sharp satire. His unique voice continues to resonate today, inviting listeners to reflect on the enduring questions of existence, society, and the human condition. This collection not only highlights Marvell's mastery of language but also offers insights into the timeless struggles and joys of life, making it a compelling listen for those who appreciate the power of poetry. Experience the brilliance of Marvell's words and their relevance to our modern lives.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73320449</guid><pubDate>Sat, 01 Aug 2026 17:08:03 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73320449/poems_and_some_satires_of_andrew_marvell_andrew_marvell.mp3" length="218885888" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>"Poems and Some Satires of Andrew Marvell" showcases the wit and depth of one of the 17th century's most significant poets. Marvell's work explores themes of love, nature, and the complexities of human experience through a blend of lyrical beauty and...</itunes:subtitle><itunes:summary><![CDATA["Poems and Some Satires of Andrew Marvell" showcases the wit and depth of one of the 17th century's most significant poets. Marvell's work explores themes of love, nature, and the complexities of human experience through a blend of lyrical beauty and sharp satire. His unique voice continues to resonate today, inviting listeners to reflect on the enduring questions of existence, society, and the human condition. This collection not only highlights Marvell's mastery of language but also offers insights into the timeless struggles and joys of life, making it a compelling listen for those who appreciate the power of poetry. Experience the brilliance of Marvell's words and their relevance to our modern lives.]]></itunes:summary><itunes:duration>27333</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems and Some Satires of Andrew Marvell - Andrew Marvell</title><link>https://www.spreaker.com/episode/poems-and-some-satires-of-andrew-marvell-andrew-marvell--72246211</link><description><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/72246211</guid><pubDate>Sat, 30 May 2026 13:38:10 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72246211/poems_and_some_satires_of_andrew_marvell_andrew_marvell.mp3" length="218663115" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>27333</itunes:duration><itunes:keywords>andrew,donne,historical,jonson,lines,marvell,poems,rhymes,satires,some</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3971e86b742e513b2abde0425f7acd39.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
