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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--7143260</link><description><![CDATA[Delve into the intricate layers of human experience and societal commentary through the lens of Andrew Marvell's multifaceted work. This podcast invites listeners to explore the delicate balance between pastoral beauty and sharp satire, as each episode presents a new complete audiobook that captures the essence of Marvell's poetic genius. With themes of political intrigue, love, and the complexities of existence, the rotating collection offers a rich tapestry of exploration that reflects Marvell’s ability to engage with both the sublime and the absurd. From the lush imagery of nature to the biting wit of his satires, each selection provides a unique perspective on the human condition. This is not a single narrative but a series of distinct explorations that encourage deep reflection and appreciation for the art of poetry. Discover a new book with every episode and immerse yourself in the timeless relevance of Marvell's work as you traverse the realms of thought and feeling.]]></description><atom:link href="https://www.spreaker.com/show/7143260/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Satire Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg</url><title>Poems and Some Satires of Andrew Marvell</title><link>https://www.spreaker.com/podcast/poems-and-some-satires-of-andrew-marvell--7143260</link></image><lastBuildDate>Thu, 27 Aug 2026 09:25:21 +0000</lastBuildDate><itunes:author>Andrew Marvell</itunes:author><itunes:owner><itunes:name>Satire Genre</itunes:name><itunes:email>spreaker80@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:subtitle>Delve into the intricate layers of human experience and societal commentary through the lens of Andrew Marvell's multifaceted work. This podcast invites listeners to explore the delicate balance between pastoral beauty and sharp satire, as each...</itunes:subtitle><itunes:summary><![CDATA[Delve into the intricate layers of human experience and societal commentary through the lens of Andrew Marvell's multifaceted work. This podcast invites listeners to explore the delicate balance between pastoral beauty and sharp satire, as each episode presents a new complete audiobook that captures the essence of Marvell's poetic genius. With themes of political intrigue, love, and the complexities of existence, the rotating collection offers a rich tapestry of exploration that reflects Marvell’s ability to engage with both the sublime and the absurd. From the lush imagery of nature to the biting wit of his satires, each selection provides a unique perspective on the human condition. This is not a single narrative but a series of distinct explorations that encourage deep reflection and appreciation for the art of poetry. Discover a new book with every episode and immerse yourself in the timeless relevance of Marvell's work as you traverse the realms of thought and feeling.]]></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>97939225-a37a-5157-b7d4-38acde85772c</podcast:guid><itunes:type>episodic</itunes:type><item><title>India's Love Lyrics-Laurence Hope</title><link>https://www.spreaker.com/episode/india-s-love-lyrics-laurence-hope--74637009</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/74637009</guid><pubDate>Thu, 27 Aug 2026 09:03:15 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74637009/india_s_love_lyrics_laurence_hope.mp3" length="104735892" 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>13079</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.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--74603615</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/74603615</guid><pubDate>Wed, 26 Aug 2026 09:03:28 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74603615/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/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Gigolo-Edna Ferber</title><link>https://www.spreaker.com/episode/gigolo-edna-ferber--74570845</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/74570845</guid><pubDate>Tue, 25 Aug 2026 09:03:00 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74570845/gigolo_edna_ferber.mp3" length="253304858" 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>31631</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Sun and Saddle Leather-Charles Badger Clark</title><link>https://www.spreaker.com/episode/sun-and-saddle-leather-charles-badger-clark--74539762</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/74539762</guid><pubDate>Mon, 24 Aug 2026 09:09:23 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74539762/sun_and_saddle_leather_charles_badger_clark.mp3" length="33216040" 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>4148</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Dawn Patrol, and Other Poems of an Aviator-Paul Bewsher</title><link>https://www.spreaker.com/episode/dawn-patrol-and-other-poems-of-an-aviator-paul-bewsher--74507916</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/74507916</guid><pubDate>Sun, 23 Aug 2026 09:09:09 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74507916/dawn_patrol_and_other_poems_of_an_aviator_paul_bewsher.mp3" length="24547245" 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>3065</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.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--74470199</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/74470199</guid><pubDate>Sat, 22 Aug 2026 09:08:08 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74470199/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/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Westminster Alice-Saki</title><link>https://www.spreaker.com/episode/westminster-alice-saki--74436764</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/74436764</guid><pubDate>Fri, 21 Aug 2026 09:08:59 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74436764/westminster_alice_saki.mp3" length="26658992" 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>3329</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems of Gerard Manley Hopkins (Version 2)-Gerard Manley Hopkins</title><link>https://www.spreaker.com/episode/poems-of-gerard-manley-hopkins-version-2-gerard-manley-hopkins--74397235</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/74397235</guid><pubDate>Thu, 20 Aug 2026 15:19:42 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74397235/poems_of_gerard_manley_hopkins_version_2_gerard_manley_hopkins.mp3" length="90409255" 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>11290</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Raven and Other Poems-Edgar Allan Poe</title><link>https://www.spreaker.com/episode/raven-and-other-poems-edgar-allan-poe--74352954</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/74352954</guid><pubDate>Thu, 20 Aug 2026 02:04:40 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74352954/raven_and_other_poems_edgar_allan_poe.mp3" length="16999549" 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>2123</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.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--74214122</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/74214122</guid><pubDate>Tue, 18 Aug 2026 09:09:24 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74214122/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/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems and Ballads (First Series)-Algernon Charles Swinburne</title><link>https://www.spreaker.com/episode/poems-and-ballads-first-series-algernon-charles-swinburne--74167308</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/74167308</guid><pubDate>Mon, 17 Aug 2026 09:09:32 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74167308/poems_and_ballads_first_series_algernon_charles_swinburne.mp3" length="251338433" 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>31386</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Songs of Innocence and Experience (version 3)-William Blake</title><link>https://www.spreaker.com/episode/songs-of-innocence-and-experience-version-3-william-blake--74121677</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/74121677</guid><pubDate>Sun, 16 Aug 2026 12:59:49 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74121677/songs_of_innocence_and_experience_version_3_william_blake.mp3" length="21102743" 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>2635</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>John Donne's Satires-John Donne</title><link>https://www.spreaker.com/episode/john-donne-s-satires-john-donne--73401452</link><description><![CDATA["John Donne's Satires" presents a compelling exploration of the complexities of human experience through Donne's sharp wit and incisive commentary. This collection captures the essence of the 17th-century poet's reflections on morality, society, and the human condition, making it a timeless study of the conflicts that still resonate today. Donne's ability to blend humor with profound insights invites listeners to engage with themes of hypocrisy, sincerity, and the search for truth in a world often marked by contradiction. The enduring nature of his satires challenges us to reflect on our own values and the societal norms that shape our lives, ensuring that his work remains relevant across generations.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73401452</guid><pubDate>Mon, 03 Aug 2026 19:27:43 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73401452/john_donne_s_satires_john_donne.mp3" length="39822705" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>"John Donne's Satires" presents a compelling exploration of the complexities of human experience through Donne's sharp wit and incisive commentary. This collection captures the essence of the 17th-century poet's reflections on morality, society, and...</itunes:subtitle><itunes:summary><![CDATA["John Donne's Satires" presents a compelling exploration of the complexities of human experience through Donne's sharp wit and incisive commentary. This collection captures the essence of the 17th-century poet's reflections on morality, society, and the human condition, making it a timeless study of the conflicts that still resonate today. Donne's ability to blend humor with profound insights invites listeners to engage with themes of hypocrisy, sincerity, and the search for truth in a world often marked by contradiction. The enduring nature of his satires challenges us to reflect on our own values and the societal norms that shape our lives, ensuring that his work remains relevant across generations.]]></itunes:summary><itunes:duration>4972</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/194dcd84d10d936366f68b51ea5e9eaf.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--72759691</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/72759691</guid><pubDate>Tue, 30 Jun 2026 16:31:08 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72759691/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,marvell,poems,rhymes,satire,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/194dcd84d10d936366f68b51ea5e9eaf.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
