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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--7161580</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/7161580/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Single Author Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg</url><title>Poems and Some Satires of Andrew Marvell</title><link>https://www.spreaker.com/podcast/poems-and-some-satires-of-andrew-marvell--7161580</link></image><lastBuildDate>Fri, 28 Aug 2026 09:27:27 +0000</lastBuildDate><itunes:author>Andrew Marvell</itunes:author><itunes:owner><itunes:name>Single Author Genre</itunes:name><itunes:email>spreaker85@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.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>c2c622e8-2ba5-5bbd-b684-7704b37492f8</podcast:guid><itunes:type>episodic</itunes:type><item><title>Canzoniere-Dante Alighieri</title><link>https://www.spreaker.com/episode/canzoniere-dante-alighieri--74656376</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/74656376</guid><pubDate>Fri, 28 Aug 2026 09:02:15 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74656376/canzoniere_dante_alighieri.mp3" length="108879308" 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>13596</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.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--74619696</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/74619696</guid><pubDate>Thu, 27 Aug 2026 09:02:36 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74619696/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/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>G.T.T., or The Wonderful Adventures of a Pullman-Edward Everett Hale</title><link>https://www.spreaker.com/episode/g-t-t-or-the-wonderful-adventures-of-a-pullman-edward-everett-hale--74587557</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/74587557</guid><pubDate>Wed, 26 Aug 2026 09:02:38 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74587557/g_t_t_or_the_wonderful_adventures_of_a_pullman_edward_everett_hale.mp3" length="143790068" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a...</itunes:subtitle><itunes:summary><![CDATA[Andrew Marvell is a man of many faces, in both poetry and politics. A master of the pastoral dialogue, he can equally well fire out a Juvenalian satire; congratulate the new republic while also applauding the murdered king’s fortitude; and balance a solemn platitude against a ribald joke within the space of two lines. This constitutional habit of seeing two sides of the same issue owes much to Ben Jonson’s influence although the younger poet uses this talent to create irony like Donne’s rather than for the appearance of frank honesty as in Jonson. In “The Garden” he is as at home with sensory luxury as Herrick, but his paradoxes and metaphysical conceits, in “The Definition of Love,” rival Donne’s. One may suspect that the couplet form, especially in the satires, encourages this doubleness, for where the rhymes are muted it is not found, as in the straight pathos of the “The Nymph’s Complaining for the Death of Her Fawn,” enjambment obscuring rhymes by tending to make phrases end in the middle of lines rather than at line-end. In the Satires, Marvell shifts from arch sneering to savage excoriation, and then to rollicking triple-rhythm burlesque. It seems at times that he must certainly be added to someone’s hit list, but his insults are so brazen and he appears to have so much fun in making scandalous accusations that he appears to enjoy the immunity of a court jester. (Summary by Thomas A. Copeland)]]></itunes:summary><itunes:duration>17956</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Crome Yellow, Version 2-Aldous Huxley</title><link>https://www.spreaker.com/episode/crome-yellow-version-2-aldous-huxley--74556904</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/74556904</guid><pubDate>Tue, 25 Aug 2026 09:02:29 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74556904/crome_yellow_version_2_aldous_huxley.mp3" length="175186716" 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>21876</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Borough-George Crabbe</title><link>https://www.spreaker.com/episode/borough-george-crabbe--74525492</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/74525492</guid><pubDate>Mon, 24 Aug 2026 09:08:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74525492/borough_george_crabbe.mp3" length="247388211" 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>30893</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.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--74495376</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/74495376</guid><pubDate>Sun, 23 Aug 2026 09:08:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74495376/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/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Temple-George Herbert</title><link>https://www.spreaker.com/episode/temple-george-herbert--74455781</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/74455781</guid><pubDate>Sat, 22 Aug 2026 09:07:41 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74455781/temple_george_herbert.mp3" length="154661452" 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>19314</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Renascence A Book of Verse-Walter Crane</title><link>https://www.spreaker.com/episode/renascence-a-book-of-verse-walter-crane--74424307</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/74424307</guid><pubDate>Fri, 21 Aug 2026 09:08:36 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74424307/renascence_a_book_of_verse_walter_crane.mp3" length="77037950" 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>9620</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Garden of Kama-Laurence Hope</title><link>https://www.spreaker.com/episode/garden-of-kama-laurence-hope--74378624</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/74378624</guid><pubDate>Thu, 20 Aug 2026 10:16:14 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74378624/garden_of_kama_laurence_hope.mp3" length="111470274" 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>13920</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poetry of St John of the Cross-Saint John of the Cross</title><link>https://www.spreaker.com/episode/poetry-of-st-john-of-the-cross-saint-john-of-the-cross--74339584</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/74339584</guid><pubDate>Wed, 19 Aug 2026 21:00:35 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74339584/poetry_of_st_john_of_the_cross_saint_john_of_the_cross.mp3" length="35324044" 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>4411</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Cinderella-George Calderon</title><link>https://www.spreaker.com/episode/cinderella-george-calderon--74197818</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/74197818</guid><pubDate>Tue, 18 Aug 2026 09:08:47 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74197818/cinderella_george_calderon.mp3" length="45224342" 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>5647</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Poems-Elinor Jenkins</title><link>https://www.spreaker.com/episode/poems-elinor-jenkins--74151482</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/74151482</guid><pubDate>Mon, 17 Aug 2026 09:09:12 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74151482/poems_elinor_jenkins.mp3" length="41064566" 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>5128</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Selected Poems-George Herbert</title><link>https://www.spreaker.com/episode/selected-poems-george-herbert--74111136</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/74111136</guid><pubDate>Sun, 16 Aug 2026 09:08:14 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74111136/selected_poems_george_herbert.mp3" length="47591796" 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>5943</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.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--73418561</link><description><![CDATA["John Donne's Satires" showcases the sharp wit and profound insight of one of the most celebrated poets of the English Renaissance. Through his satirical verses, Donne explores themes of morality, human folly, and the complexities of faith, making his work both timeless and relevant. These satires invite listeners to reflect on the nature of truth and the human condition, resonating with contemporary audiences who grapple with similar existential questions. As Donne's incisive commentary on society and self continues to echo through the ages, this audiobook serves as a compelling reminder of the enduring power of poetry to provoke thought and inspire change.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73418561</guid><pubDate>Tue, 04 Aug 2026 03:43:09 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73418561/john_donne_s_satires_john_donne.mp3" length="39822705" type="audio/mpeg"/><itunes:author>Andrew Marvell</itunes:author><itunes:subtitle>"John Donne's Satires" showcases the sharp wit and profound insight of one of the most celebrated poets of the English Renaissance. Through his satirical verses, Donne explores themes of morality, human folly, and the complexities of faith, making his...</itunes:subtitle><itunes:summary><![CDATA["John Donne's Satires" showcases the sharp wit and profound insight of one of the most celebrated poets of the English Renaissance. Through his satirical verses, Donne explores themes of morality, human folly, and the complexities of faith, making his work both timeless and relevant. These satires invite listeners to reflect on the nature of truth and the human condition, resonating with contemporary audiences who grapple with similar existential questions. As Donne's incisive commentary on society and self continues to echo through the ages, this audiobook serves as a compelling reminder of the enduring power of poetry to provoke thought and inspire change.]]></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/4856a6f9474ff4db58048bf63b6ffaac.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--72869178</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/72869178</guid><pubDate>Wed, 08 Jul 2026 14:14:31 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72869178/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,satires,single,some</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/4856a6f9474ff4db58048bf63b6ffaac.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
