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Andrew Marvell, a 17th century English poet, gently satirises the etiquette amongst society
women of his day of feigning coyness or shyness at the advances of a suitor.
Although the etiquette was meant to last but a while before the relationship grew more intimate,
Marvell nevertheless makes fun of it by protesting that it lasted too long. He uses a common
poetic technique of his day of exaggerating the etiquette out of all proportion, making it seem
that the woman would be coy forever.
The poet points out how, in a perfect world where time was not a factor, such coyness would
be quite acceptable. In the real world, however, decay and death descend rapidly on us and
we will therefore waste the wonderful world of sexual intercourse -- something he thought was
best savoured while both people were young and their bodies at their glorious best.
In reality, although advances were indeed met with apparent coyness, once the woman was
certain that this was the right man, she would often set up a tryst or secret meeting place where
he and she would make love.
She needed, however, to protect herself and so she offered her virtue only on condition that
they marry if she fell pregnant -- and she would usually arrange for a servant to be secretly on
hand to bear witness to any pledge he might make but afterwards break.
ABOUT THE POET
Andrew Marvell was born in East Yorkshire in 1621, the son of an Anglican priest. Upon leaving
school, he attended Trinity College (Cambridge University) from which he graduated with a
Bachelors degree at a rather young age.
He worked as tutor to Oliver Cromwell's ward during the era of England's republic after the
Puritans had overthrown the King. He then became a Member of Parliament during the
republican era, a post he managed to maintain even after the restoration of the monarchy in
1661.
Although himself a Puritan, Marvell is nevertheless best known for his metaphysical verse, and
is best associated with such poets as John Donne and George Herbert. For a while, he also
assisted John Milton who, becoming increasing blind, needed help in the recording of his
poetry.
Marvell died in 1678 at the age of 57.
Have you looked at the questions in the right column?
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TEST YOURSELF!
Read the left column and then answer the following questions:
"But at my back I always hear
Time's winged chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity."
- Show how, as the poet moves into his "seize the moment" argument, his choice of
words has dramatically changed from those of the previous stanza. (4)
[Need help?]
Up until now, the poet has stressed a leisurely romance -- with words like "sit, walk and
think" being in the forefront. Now, however, he speaks of urgency and refers to "Time's
winged chariot" speeding along behind them, forever catching them.
Furthermore, he spoke in Stanza One of rivers and forests. Now he refers to "Deserts of
vast eternity". The lush, productive age of her female beauty is with her for just a very short
time and thereafter follows an eternal desert where there will be no beauty to admire and use.
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- Why is "Time" personified here? (4)
[Need help?]
The poet refers to the common perception of Time as being an old man -- the Grim
Reaper -- who comes along with his scythe to bring in the harvest of the dead. Youthful
beauty in a woman would then be reaped by Old Man Time, and her beauty fade, the bright
colours on her face and lips disappear, her breasts would sag and her skin would grow old and
wrinkled.
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"Thy beauty shall no more be found,
Nor, in thy marble vault, shall sound
My echoing song; then worms shall try
That long preserv'd virginity,
And your quaint honour turn to dust,
And into ashes all my lust."
- What does the poet mean when he says, "in thy marble vault"? (2)
[Need help?]
The poet is referring to her tomb or grave, isn't he?
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- Explain how the poet's technique contrasts elements of grandeur with the absolute
mundane. (4)
[Need help?]
Notice the way in which the poet refers not just to an ordinary grave but to a "marble
vault". He therefore describes her death in grandiose fashion. But, once in the tomb, it will
be the worms which will be getting the joy of eating her body -- and therefore also eating her
long cherished virginity, -- instead of the poet doing so.
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- The poet is very explicit in pointing out that he wants sexual intercourse with the woman.
How is this shown? (2)
[Need help?]
Notice that the poet tells her quite blatantly that he has "lust" for her.
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- What word tells you that the poet believes the woman's coyness is rather silly and with no
real meaning? (2)
[Need help?]
The poet refers to her "quaint honour", which means something that is not really serious.
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"The grave's a fine and private place,
But none I think do there embrace."
- Comment on the poet's playing with words when he speaks of the grave being a "private
place". (4)
[Need help?]
It was customary in the poet's time -- and probably still is today -- for two lovers to seek out a
"private place" (called a "tryst") where they could make love without being seen
or disturbed. Indeed, the poet has probably been hinting to her that they should seek out such
a private place but she has shown hesitance or coyness at this suggestion.
The grave too was a very "private place" where she would not be disturbed but, he said,
there would be no love-making there. Indeed, her virginity would only be eaten by the worms
and not by her lover.
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"Now therefore, while the youthful hue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires."
- The poet expresses an opinion that the woman secretly really wants to become sexually
active with him. Explain in your own words how one knows this. (4)
[Need help?]
The poet speaks about her "willing soul" and that this soul -- representing her real
desires -- has "instant fires" of lust at every pore.
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"Thus, though we cannot make our sun
Stand still, yet we will make him run."
- Comment on the two images of the sun that are presented in these lines. (4)
[Need help?]
In the first line, the sun represents the passage of time. The poet therefore comments that they
cannot make the sun stand still, i.e. they cannot stop the passing of time.
On the other hand, the sun also represents life and vigour. And so, by indulging in violent
sexual intercourse, he and she will invigorate their lives and also put so much more fun into
living.
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Who do you think was more realistic: the poet who was persuading the woman to have sex with
him or the woman who appeared to desire remaining a virgin? (6)
[Need help?]
The reality is that they were probably both right. The woman was conforming to social norms
by appearing to hold the man at arm's length. Was this her real self? Probably not. Like most
women of their day, she would have seen sex as a necessary way in which to have children --
and something that could be enjoyed. On the other hand, she could not lower her guard
because then she would be viewed as a fallen woman -- a harlot -- and a good marriage would
then be out of her reach.
The poet, on the other hand, was also running true to male form. He believed that the woman's
coyness was merely a social front and that, if he could persuade her otherwise, then he and she
would enjoy much sexual fun together.
They were like two doves, the male attempting to seduce the female. He struts around, making
valiant cooing noises while she plays hard to get. Ultimately, however, his seductions win her
over and they have vicious sex for a few moments.
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