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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--7088694</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/7088694/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Literary Fiction Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg</url><title>Poems and Some Satires of Andrew Marvell</title><link>https://www.spreaker.com/podcast/poems-and-some-satires-of-andrew-marvell--7088694</link></image><lastBuildDate>Tue, 25 Aug 2026 09:07:37 +0000</lastBuildDate><itunes:author>Andrew Marvell</itunes:author><itunes:owner><itunes:name>Literary Fiction Genre</itunes:name><itunes:email>spreaker64@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.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="Arts"/><itunes:category text="Arts"><itunes:category text="Performing Arts"/></itunes:category><itunes:explicit>false</itunes:explicit><podcast:guid>7c3dd137-4039-5757-b910-f6b661c52c8c</podcast:guid><itunes:type>episodic</itunes:type><item><title>Bay A Book of Poems-D. H. Lawrence</title><link>https://www.spreaker.com/episode/bay-a-book-of-poems-d-h-lawrence--74064546</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/74064546</guid><pubDate>Tue, 25 Aug 2026 09:00:44 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74064546/bay_a_book_of_poems_d_h_lawrence.mp3" length="15069886" 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>1882</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.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--74039864</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/74039864</guid><pubDate>Mon, 24 Aug 2026 09:02:06 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74039864/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/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Sentimental Song Book-Julia A. Moore</title><link>https://www.spreaker.com/episode/sentimental-song-book-julia-a-moore--74017618</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/74017618</guid><pubDate>Sun, 23 Aug 2026 09:02:00 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74017618/sentimental_song_book_julia_a_moore.mp3" length="45171192" 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>5641</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems of Jonathan Swift, Volume One-Jonathan Swift</title><link>https://www.spreaker.com/episode/poems-of-jonathan-swift-volume-one-jonathan-swift--73993527</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/73993527</guid><pubDate>Sat, 22 Aug 2026 09:01:34 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73993527/poems_of_jonathan_swift_volume_one_jonathan_swift.mp3" length="269867851" 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>33700</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>In the Net of the Stars-F. S. Flint</title><link>https://www.spreaker.com/episode/in-the-net-of-the-stars-f-s-flint--73970233</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/73970233</guid><pubDate>Fri, 21 Aug 2026 09:01:42 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73970233/in_the_net_of_the_stars_f_s_flint.mp3" length="37993305" 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>4745</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Life and Death of Tom Thumb the Great-Henry Fielding</title><link>https://www.spreaker.com/episode/life-and-death-of-tom-thumb-the-great-henry-fielding--73947458</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/73947458</guid><pubDate>Thu, 20 Aug 2026 09:01:46 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73947458/life_and_death_of_tom_thumb_the_great_henry_fielding.mp3" length="38420409" 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>4797</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.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--73922729</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/73922729</guid><pubDate>Wed, 19 Aug 2026 09:01:26 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73922729/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/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Spray of Lilac, and Other Poems and Songs-Marie Hedderwick Browne</title><link>https://www.spreaker.com/episode/spray-of-lilac-and-other-poems-and-songs-marie-hedderwick-browne--73897820</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/73897820</guid><pubDate>Tue, 18 Aug 2026 09:01:45 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73897820/spray_of_lilac_and_other_poems_and_songs_marie_hedderwick_browne.mp3" length="46710817" 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>5833</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems Series Two-Emily Dickinson</title><link>https://www.spreaker.com/episode/poems-series-two-emily-dickinson--73873463</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/73873463</guid><pubDate>Mon, 17 Aug 2026 09:01:43 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73873463/poems_series_two_emily_dickinson.mp3" length="48061813" 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>6002</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Rhymes of Childhood-Edgar A. Guest</title><link>https://www.spreaker.com/episode/rhymes-of-childhood-edgar-a-guest--73852740</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/73852740</guid><pubDate>Sun, 16 Aug 2026 09:01:37 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73852740/rhymes_of_childhood_edgar_a_guest.mp3" length="104258993" 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>13020</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Vision of Piers the Plowman (Warren translation)-William Langland</title><link>https://www.spreaker.com/episode/vision-of-piers-the-plowman-warren-translation-william-langland--73835964</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/73835964</guid><pubDate>Sat, 15 Aug 2026 09:02:25 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73835964/vision_of_piers_the_plowman_warren_translation_william_langland.mp3" length="133492424" 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>16670</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Soren Kierkegaard, Various Readings-Various</title><link>https://www.spreaker.com/episode/soren-kierkegaard-various-readings-various--73799874</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/73799874</guid><pubDate>Tue, 11 Aug 2026 05:20:21 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73799874/soren_kierkegaard_various_readings_various.mp3" length="128630190" 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>16062</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Astrophel and Stella-Sir Philip Sidney</title><link>https://www.spreaker.com/episode/astrophel-and-stella-sir-philip-sidney--73344045</link><description><![CDATA["Astrophel and Stella" by Sir Philip Sidney is a profound exploration of love and desire, encapsulated in a sequence of sonnets that reflect the complexities of romantic relationships. This timeless work delves into the themes of unrequited love, the nature of beauty, and the interplay between the poet's emotions and artistic expression. Its lyrical quality and emotional depth resonate with listeners today, reminding us of the universal struggles of love and longing that persist across generations. Sidney's masterful use of the sonnet form not only showcases his poetic prowess but also invites contemplation on the enduring nature of human experience and connection.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73344045</guid><pubDate>Sun, 02 Aug 2026 17:40:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73344045/astrophel_and_stella_sir_philip_sidney.mp3" length="48482480" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>"Astrophel and Stella" by Sir Philip Sidney is a profound exploration of love and desire, encapsulated in a sequence of sonnets that reflect the complexities of romantic relationships. This timeless work delves into the themes of unrequited love, the...</itunes:subtitle><itunes:summary><![CDATA["Astrophel and Stella" by Sir Philip Sidney is a profound exploration of love and desire, encapsulated in a sequence of sonnets that reflect the complexities of romantic relationships. This timeless work delves into the themes of unrequited love, the nature of beauty, and the interplay between the poet's emotions and artistic expression. Its lyrical quality and emotional depth resonate with listeners today, reminding us of the universal struggles of love and longing that persist across generations. Sidney's masterful use of the sonnet form not only showcases his poetic prowess but also invites contemplation on the enduring nature of human experience and connection.]]></itunes:summary><itunes:duration>6054</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/370e2ee017a4add503fe26d3e1bdecd3.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--72390323</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/72390323</guid><pubDate>Sat, 06 Jun 2026 16:57:32 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72390323/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,jonson,lines,lyric,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/370e2ee017a4add503fe26d3e1bdecd3.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
