Question 1: In what ways, and with what effects, does Marvell portray the sufferings of love in his poems?

You
should refer to at least two poems in your answer.

In what ways: methods / literary techniques With what

effects: ideas / issues / message

(In this case, relating to the sufferings of love.)

[Every paragraph should say something about an issue and the methods used to present it]

What: the sufferings of love (or a specific aspect of the suffering) How: literary
techniques Why: ideas / messages about the sufferings of love

Sample introduction: Love in Marvell’s poems is principally a source of suffering. His personae are often
bewildered victims of emotional torment who can neither fulfil their desires nor reach emotional detachment. Yet
out of this suffering, some contentment or purpose, if not joy, can be achieved.

Sample paragraph: At a fundamental level, Marvell’s personae are the suffering victims of female tormentors. At
best the women are unwitting agents of male anguish. At worst, they are deliberately cruel tormentors. In ‘The
Fair Singer’, Marvell uses the metaphor of warfare to present love as a battle between the sexes. The woman is
‘so sweet an enemy’, the paradox highlighting the conflicting sensations of pleasure and pain evoked by the
woman’s beauty. This is enhanced by the images of imprisonment that extend the metaphor, in which her hair
becomes the ‘curled trammels’ that ensnare him, while her voice creates ‘fetters of the very air’. This presents
the persona as the woman’s helpless prisoner. This imagery is echoed in ‘The Gallery’ in which Clora’s ‘most
tormenting’ instruments of torture are ‘[black] eyes, red lips, and curled hair’. Clora is a more intentional
tormentor. Unlike the fair singer, who is ‘composed by Love’, and is therefore a passive agent of the persona’s
suffering, Clora is portrayed as deliberately cruel. She is characterised as a ‘tyrant’ and ‘an inhuman murderess’
who enjoys ‘examining upon the hearts’ of her hapless lovers. The imagery here evokes dreadful physical torture
as a metaphor for the emotional suffering of the persona. Clora is the torturer intent on causing the greatest
amount of pain. Likewise, in ‘Damon the Mower’, Damon is tortured by ‘Juliana’s scorching beams’, the image of
the burning sun presenting her as an all-powerful yet destructive entity. Marvell’s personae are therefore
presented as helpless sufferers in the cause of love, victims of cruel women and their enchanting beauty.
Question 2: In what ways and with what effects does Marvell present the contradictory experience of love? You
must refer to at least two poems in your answer.

In what ways: methods / literary techniques With what effects: what ideas or issues are raised. Contradictory:
mutually opposed or inconsistent. Containing inconsistent elements. Experience: practical contact with or
observation of something (fact or event). Knowledge gained over time.

[Note that ‘contradictory’ modifies the word ‘experience’ – therefore it is one’s experience of love that is
contradictory.]

Sample Introduction: In Marvell’s love poems, Marvell presents the experience of love as one that is
contradictory. Though love is often portrayed by the speaker as a source of intense suffering, it is also portrayed
as an emotion that brings the speaker joy, which is is one that is celebrated and apotheosised. Love is seen as
something that is both a tormentor of the speaker and something that is glorified.

Sample paragraphs: ‘The Fair Singer’ and ‘The Gallery’, the contradictory experience of love experienced by the
personae arises from the portrayal of the beloved as both a tormentor and source of pleasant feelings. In both
poems, the beloved is seen both tormenting and captivating the personae. In ‘The Fair Singer’, Marvell
accomplishes this effect of duality using the conceit of war, in comparing the state of being in love to a war. In
this conceit, the beloved takes on the role of the speaker’s enemy, as seen in ‘Love did compose so sweet an
enemy’. Though the image of war seen in ‘enemy’ suggests his suffering in a battle in which she opposes him,
she is paradoxically described as one who is ‘sweet’, seeming to evoke a sense of pleasant feelings in the
speaker. The image of music suggested by ‘compose’ is echoed by the joining of the beauty of the beloved’s
eyes and voice in a ‘fatal harmony’. Once again, the image of music seen in ‘harmony’ creates an auditory image
that suggests that her beauty is almost musical and thus pleasant or soothing to the speaker. Yet, this beauty is
also seen as ‘fatal’, with the image of death suggesting his immense suffering. In ‘The Gallery’, Clora is seen to
bring great suffering to the speaker when she is portrayed as his tormentor, yet is depicted as a harmless picture
of serenity as well. The speaker describes her as an ‘inhuman murderess’, suggesting that she possesses the
immense cruelty of a merciless killer. She is seen torturing him with her beauty, and describes her ‘Black eyes,
red lips, and curled hair’ to be her ‘most tormenting’ instruments of torture. The metaphor shows that Clora’s
physical appearance, while the epitome of perfection is also compared to instruments of torture, thus the source
of the speaker’s suffering. Yet, this beauty she possesses is also something that brings him pleasure. He
describes her as ‘Aurora in the dawn’, depicting her as a goddess of entrancing beauty. The description of her
thighs as ‘milky’ portrays her physical appearance as one that is idealised for its pure and mild nature, and the
effect of this beauty is further brought out by ‘morning coir does sing’, ‘roses spring’ and ’wooing doves’ that
bring across the idea of the liveliness and beauty of spring. In both poems, the speaker employs the Petrarchan
tropes of elevating and idealising the beloved, as well as the idea of the speaker being the slave to the beloved.
It can thus be seen that the beloved is both a source of suffering and pleasant feelings for the speaker, leading
to the speaker’s contradictory experience with love.
A second way in which the experience of love is conflicting is that Marvell conveys how it is an antithetical love,
defined by suffering and torture, rather than a happy, realised love, that is worth celebrating. This is most evident
in ‘The Unfortunate Lover’, in which vivid visual imagery is heavily used. The experience of the male subject
consists of great torture, from the cruel suffering of his ‘bitter tears’ to his trial when he ‘Like Ajax, the mad
tempest braves’, in which Marvell alludes to classical mythology to illustrate that the lover was valiant in enduring
great struggle. This great degree of torture and trial is meant to show that his experience of love is turbulent and
full of turmoil. Yet at the end of the poem, one sees that a lover ‘Forced to love in storms and wars...dying leaves
a perfume here, / And music within every ear’. The imagery, appealing to sense of sight and sound, conveys that
one who undergoes tribulation as above inevitably leaves a lasting legacy, which is a source of celebration and
revelry. It is then in stark contrast to the first stanza, in which innocent, happy loves cannot ‘make impression
upon time’ as they as ‘flames do lose their light’. In this way, such meaningless love is in fact not worthy of
celebration and respect, and is easily forgotten, as the visual imagery conveys. Though it may be passionate, it
is ultimately forgotten. This idea is reinforced in ‘The Definition of Love’, in which an unfulfilled love is again
celebrated.This poem makes use of cartographical allusions to illustrate the idea that love, despite being
unfulfilled is in fact perfect and should be admired and sought after. Such love is ‘parallel’ - connoting that it is
perfect and flawless, unlike ‘oblique’, or rather, imperfect loves. Yet the former ‘can never meet’ - that is, the love
is not destined to be realised. Thus, while Marvell bemoans the inevitability of the fact that this love is destined to
fail, he yet celebrates this love as one that is of a higher level. It is certainly conflicting that a love that should
never come true is portrayed as ideal. Yet Marvell’s poems celebrate the superiority of these loves, which are
flawless, leaving a remarkable and memorable impact, and are thus worthy of exaltation.

Sample Conclusion: In conclusion, Marvell makes use of various techniques like conceits, imagery and allusion
to convey the antithetical nature of love - in the beloved being at once pure and beautiful and yet sinister, and in
the assertion that a love unfulfilled and defined by longing that is not realised, as well as suffering, should be
celebrated. Indeed, Marvell’s poems are full of contradictory representations of love.
Question 3: Discuss the ways in which Marvell’s poems present ‘a yearning for a return to a state of purity’. You
should refer to at least two poems in your answer.

Discuss the ways: literary techniques Present: techniques, but also what are the issues raised. Yearning: desire
for / longing Return: going back to (something that is lost / no longer exists / there has been a change of
condition or state). State of purity: innocence, without sin, union of God and man; without any negative additions.

Question requirements: The question requires students to consider the literary techniques that Marvell’s poems
use to show a desire to recover lost innocence / lost moral goodness / lost union with the divine, and the issues
that these poems communicate through that presentation (e.g. that such a desire is futile, or can be achieved
only under certain circumstances, or requires sacrifices etc).

Possible overall theses: 1. Marvell’s poems present the individual’s longing for a return to purity from a tainted
material existence.

Possible areas to discuss: - Marvell’s presentation of the individual’s longing to return to

purity. - Marvell’s presentation of tainted material existence. (Your views about whether Marvell
presents the longing as capable of fulfilment.)

Possible poem: -
The Garden

2. Marvell’s poems show a longing for a prelapsarian existence.

Possible areas to discuss: - Marvell’s presentation of the prelapsarian world (what its traits are etc) - Marvell’s
presentation of the disruptions or threats that separate the individual from the prelapsarian world. - Marvell’s
presentation of the longing for return (and whether that is possible).

Possible poems: - The Garden - The

Mower Against Gardens - The Mower
to the Glowworms

3. Marvell’s poems show the tension that exists within human nature between the longing for purity and the pull
of material desires. Possible areas to discuss: - That a longing for purity exists within human nature - That at the
same time human nature is attracted by material desires - Present a claim about the implications of this conflict
or tension.

Possible poems:
- A Dialogue Between the Soul and Body - On a Drop of Dew - A
Dialogue Between the Resolved Soul and Created Pleasure
4. Marvell’s religious poems show that human longing for a return to a state of purity is a constant struggle.

Possible areas to discuss: - Marvell’s presentation of the individual’s longing to return to purity. -
Marvell’s presentation of tainted material existence. (Your views about whether Marvell presents
the longing as capable of fulfilment.)

Possible poems: - A Dialogue Between the Soul and Body - A Dialogue

Between the Resolved Soul and Created Pleasure - On a Drop of Dew
Question 4: Marvell’s poems show ‘the belief that the battle between flesh and spirit had to be constantly
renewed.’ With this comment in mind, discuss Marvell’s presentation of the struggle between earthly and spiritual
desires. You should make detailed reference to at least two poems in your answer.

Key words:
● ‘Battle’ — idea of conflict, strife, struggle
● ‘Between flesh and spirit’ — material vs. spiritual; body vs. soul. Students can use the terms ‘soul’ and
‘spirit’ interchangeably
● ‘Had to be constantly renewed’ — the idea of how this struggle never ends; or, what is necessary in order for
the spirit to triumph over fleshly desires.

Possible thesis claims: 1. Marvell’s poems present the flesh and spirit as being in opposition, as the soul tries to
escape the taint of the material world.

● Dialogue between the Soul and the Body — discuss how the soul is trapped in the body and conversely
how the body is corrupted by the soul.
● Dialogue between Resolved Soul and Created Pleasure — discuss how the soul tries to maintain its
resolve against the temptations of earthly pleasure.
● On A Drop of Dew — discuss how the soul tries to reject the taint of the material world and return to
heaven.
● The Garden — discuss how the soul casts off the body as it prepares to ascend to heaven. Could also discuss
how this stands in opposition to man’s vain pursuit of earthly glory as seen at the start of the poem.

2. Marvell also discusses the struggle between man’s desire to glorify God and man’s inherent sinfulness, which
undermines/corrupts his spiritual desire for God.

● The Coronet — discuss how the speaker’s desire to honour Christ is undermined by his fleshly desire for fame
and glory.

3a. Marvell’s poems explore how the struggle between earthly and spiritual desires is constant/unending.

● Dialogue between the Soul and the Body — discuss the unresolved nature of the ending and how body
and soul are presented to be in constant opposition.
3b. Marvell’s poems discuss how an attitude of humility/repentance/virtue enables the soul to triumph ultimately
over the desires of the flesh and be reconciled to God.

● Eyes and Tears — discuss how an attitude of repentance renews the soul as it is reminded of God’s
grace and redemption.
● Dialogue Between Resolved Soul and Created Pleasure — discuss how the soul is able to stand firm
against the temptations of pleasure by following a path of humility and virtue.

Sample essay:

The poetry of Andrew Marvell involves explorations of the diametrically opposed concepts of the desires of the
flesh and those of the spirit. In essence, the idea that earthly desires, often
seen as sinful, transient and meaningless, and spiritual desires, often apotheosised and admired, are
antagonistic and naturally conflicting feature heavily in his work. Furthermore, he presents immense and urgent
impetus in elevating the spiritual, and dismissing what is worldly, as a matter of the ongoing antagonism and
incompatibility of the two.

Most prominently, one may observe the separation of material and spiritual pleasures such that they may be
presented as hostile and antagonistic, as seen in A Dialogue, between the Resolved Soul and Created Pleasure.
Indeed, the illustration of a hostile conflict between Soul and Pleasure are made clear through the use of the
diction of a battle, in arming the Soul to resist Pleasure. Its ‘immortal shield’, ‘helmet’, ‘sword’ and ‘army’ all
connote a valiant and courageous defence against the temptations of the world, against an implied hostile
enemy -- material pleasure. Indeed, Created Pleasure allures the Soul with promises to ‘of Nature’s banquet
share’, with the connotations of abundance and sheer pleasure in the diction of ‘banquet’ serving to tempt the
Soul into giving in to material pleasure, while the luxury of ‘Nature’ is turned into a pleasure that is deemed evil
due to its being worldly. However, the Soul resolutely rejects the advances of Pleasure, stating that ‘I sup above’
and thereby dismissing such temptations as lower, less admirable ones, and instead allowing the diction of
‘above’ to connote a higher, and therefore more worthy and virtuous pleasure. Indeed, earthly temptations are
merely forms of ‘bait’, which connotes meaningless and unsatisfactory pleasures that do not nourish the soul.
Indeed, the conflict between the Soul and Pleasure is vivid. The Soul’s actions are an urge to uphold virtue
valiantly, as the Soul bravely fights against Pleasure as indicated in the word ‘fence’, connoting a brave fight in
the face of material temptations, which the diction of ‘alluring sense’ connotes is enticing. Therefore, a resolute
and ‘resolved’ defence against temptations is all the more admirable. The intricacies of this battle between flesh
and spirit are also explored in his work, as the ambiguity between the pursuit of material and spiritual desires
show that this struggle, between the earthly and the divine, is complicated. This is explored in-depth in The
Coronet, in which the speaker explores the ambiguity between glorification of self and glorification of Christ. The
speaker’s intention to ‘So rich a chaplet thence to weave / As never yet the King of Glory wore’ seems
admirable, as he claims to solely intend to ‘redress that wrong’, and make up for his guilt in condemning Christ to
death, and hence professes penitence as per the doctrine of original sin. However, this desire is questionable as
he extols, rather self-effacingly, his own craft as suggested by the possibly boastful connotations of a ‘rich’ —
marvellous -- chaplet. Thus, one may observe ambiguity and even an inescapable desire for self-glorification that
the speaker cannot be rid of. Instead, the idea of the confusion between vain self-glorification and sole
glorification of God is illustrated in the visual imagery of entanglement when the Devil is found ‘twining in his
speckled breast’, usually highlighting how, even in a work of devotion, Marvell feels that vanity cannot be fully
removed. Indeed, the imagery of ‘twining’ suggests that the Devil is subtly at work even in works of praise, as per
Puritan ideology, ‘With wreaths of fame and interest’. The choice of diction here, again, illustrates the speaker’s
admission of his own selfish and vain desires to glorify himself, with ‘wreaths’ connoting earthly abundance he
desires. Truly, The Coronet presents many complications involved in the resistance of worldly and sinister
temptations, which is echoed in the complex and complicated rhyme scheme, which provides the impression of
entanglement and complication on an auditory plane.

Ultimately, Marvell makes the claim that spiritual desires shall triumph, and in the meantime be exalted above
earthly vanities. In Eyes and Tears, Marvell illustrates how the beauties of the world are in fact vain and
meaningless, while true beauty and virtue is found in the sorrow due to repentance and gratitude for Christ’s
salvation. Indeed, the first six stanzas
illustrate abundantly images of worldly beauty which draws tears. Yet, truly admirable and worthy tears are those
who ‘preserve their sight more true’. In this instance, the evaluative adverb ‘more’ with ‘true’ compares tears of
penitence to those aforementioned of vanity, and in connoting a legitimacy and richness about these tears
suggest that this pure and clear ‘dew’ -- that is, tears -- are to be desired. Furthermore, the ‘tears more wise’ of
Magdalen are exalted in this biblical allusion, where again the diction of ‘more wise’ shows that her tears of
penitence are indeed more worthy of glorification. This repentance is most vividly shown as the diction of her
‘liquid chains’ -- a metaphor for tears -- figuratively bind Magdalen to loyalty for Christ. This is also an oxymoron
of sorts, in which the free, flowing qualities of tears — especially highlighted by the use of the liquid ‘l’ -- are in
fact used to describe the restrictive nature of chains. Yet, this ultimately serves to amplify how it is tears that is
the most worthy when showing penitence and devotion. Ultimately, one witnesses the triumph of tears of
devotion as the poem climaxes with ‘These weeping eyes, these seeing tears’. Though this is an oxymoron in
that tears obscure sight, they hence refer to the quality of tears -- from sorrow and gratitude -- to allow one to
then perceive the traits of Christ’s salvation. In this way, Eyes and Tears exalts the spiritual, and facilitates its
triumph.

In conclusion, Marvell juxtaposes earthly and spiritual desires as antagonistic forces one must constantly fend off
the evil of transient material desires, and rather extol those of a higher, more admirable origin.

Strengths of this essay: This essay puts forth a clear and coherent argument that responds effectively to the
prompt quotation and to the question. The choice of evidence is effective and affords much scope for literary
analysis. There is also sustained analysis of a range of literary devices throughout the entire essay.

Areas for improvement: Currently each thesis statement is supported by a close analysis of a single poem. It
would be better if the student was able to discuss a few poems comparatively, in order to demonstrate how
these issues are observed across Marvell’s body of work. Clearer links back to the question, especially at the
end of each paragraph, would have helped to improve the overall argumentation. References to contextual
concepts were also too brief and not clearly used to support the larger argument.
Question 5: Marvell ‘always reminds his readers to be aware of shifting perspectives.’ Discuss Marvell’s use of
viewpoint in the light of this comment. You should make detailed reference to at least two poems in your answer.

Key words:
● ‘Always reminds his readers to be aware’ — emphasises Marvell’s deliberate use of viewpoint to
achieve a particular effect; or, that Marvell intentionally uses viewpoint in his poems to draw attention to certain
key issues
● ‘Shifting perspectives’ — changing/evolving perspectives/positions. Not the same as ‘different
perspectives’. Looking at changing perspectives within a poem; OR, looking at how a series of poems that are
meant to be read together (i.e. only the Mower poems) present shifting perspectives on a particular issue.
● ‘Use of viewpoint’ — technique question. Looking at how Marvell uses poetic
perspective deliberately in his poems to highlight various key issues.

Possible thesis claims: 1. Marvell utilises shifting perspectives in the Dialogue poems to highlight how the soul
and the body/the material world are in constant opposition. The viewpoint switches frequently between the soul
and the body/pleasure throughout both poems, highlighting the constant conflict between the two.

● Dialogue between the Soul and the Body — discuss how the soul is trapped in the body and conversely
how the body is corrupted by the soul. Discuss how this conflict remains unresolved at the end of the poem, and
discuss how the shifting perspectives in the poem emphasise how body and soul are both corrupted by sin (cf.
Puritan ideology).
● Dialogue between Resolved Soul and Created Pleasure — discuss how the soul tries to maintain its
resolve against the temptations of earthly pleasure. Highlight how the viewpoint switches between the soul and
pleasure, as pleasure tries to tempt the soul, but the soul resolutely counters each of these temptations. Also
highlight the function of the Chorus — the Chorus exhorts the soul to persevere, and ultimately the poem ends
on a triumphant note as the soul maintains its resolve against pleasure.

2. Marvell utilises shifting perspectives in Eyes and Tears and The Coronet to emphasise the importance of
acknowledging one’s sinful nature and receiving God’s mercy and salvation.

● Eyes and Tears — discuss how the speaker initially explores, through the Biblical allusion to Magdalen,
the beautiful sight of a repentant spirit. In Stanza 12, the viewpoint shifts as the speaker apostrophises his eyes
and exhorts them to weep, just like Magdalen did. This shift in viewpoint, from a general discussion of this topic
to a more personal engagement and recognition of his need for God, reinforces the poem’s larger message of
humbly receiving God’s grace and mercy.
● The Coronet — discuss how the speaker realises, by the end of the poem, that his efforts to glorify Christ
are futile/in vain because they are ultimately tainted by his innate sinfulness. Note the destabilising effect of the
parentheses, and contrast the speaker’s attitude at the start and end of the poem.

3. Marvell utilises shifting perspectives in The Mower’s Song and Damon the Mower to highlight the disruptive
effect of sexuality on man.
● The Mower’s Song — discuss how the poem begins in the past tense as the Mower describes how he
used to experience a harmonious union with nature. Note the switch in viewpoint from Stanza 3 onwards as the
Mower apostrophises the meadows as ‘unthankful’ emphasises the increasing emotional intensity of the Mower’s
complaints against Juliana. This shift in viewpoint, as well as the change in the Mower’s relationship with nature,
emphasises the disruptive effect of sexuality on man.
● Damon the Mower — discuss how the poem begins with an unnamed speaker describing Damon’s
plight, before the viewpoint changes in Stanza 2 and we hear Damon’s lament spoken from the first-person
perspective. The viewpoint changes back to the unnamed speaker in Stanza 10, before reverting to Damon’s
perspective/voice in Stanza 11. Hearing directly from Damon’s perspective enhances the emotional immediacy
of his lament. However, switching to the unnamed speaker’s viewpoint, especially in Stanza 10, destabilises
Damon’s overt self-glorification by introducing a note of irony. Ultimately, this shift in viewpoint works to
emphasise the disruptive effect of sexuality on man as death comes to all.

4. Marvell utilises shifting perspectives in The Gallery to highlight the speaker’s changing perceptions of his
beloved.
 ● Discuss the positive portrayal of Clora and how these reflect the speaker’s
elevation/idealisation of her beauty.
● In contrast, discuss the negative portrayal of Clora as evil, cruel etc. And discuss how these echo the
Petrarchan trope of the lover suffering at the hands of his beloved.
● Discuss the significance of the final portrait of Clora as a shepherdess

Sample essay: Throughout the poems he wrote, Andrew Marvell constantly changed the view of the subject in
question. He often did this to emphasise the ideas of conflict and duality. One perspective Marvell constantly
changed was the identity of the malefactor between two parties which shows the inherent conflict between soul
and body. In A Dialogue Between the Soul and the Body, the identity of who is the one harming and hindering
the other is constantly changed. At first, the Soul questions ‘who shall from this dungeon raise?’ The metaphor
comparing the Body to a dungeon highlights the fact that the Soul feels trapped within the Body, which prevents
it from ascending, and thus the Body is the malefactor. However, in the next stanza, the Body complains that the
Soul ‘has made [the Body] live to let [the Body] die’. The irony used here highlights that the Soul is forcing the
Body to be alive, and that when the Soul ascend the body will face death. Thus, the identity of the malefactor
here has shifted from the Body to the Soul. In the next stanza, though, the Soul yet again complains that it is
‘shipwrecked into health again’. The metaphor compares the act of recovery to a shipwreck, which highlights that
the Soul is stranded in the material world because the Body survives an illness and does not die. The identity of
the malefactor has been shifted back to the Body. Hence, because the identity of the malefactor constantly
shifts, Marvell thus uses this to emphasise the inherent conflict between Soul and Body.

However, Marvell does not just use different viewpoints for highlighting Neoplatonic ideas. He also uses it to
present different perspectives on a lover. In The Gallery, the different pictures of Clora emphasise the different
impacts she has on the persona. In the second stanza, the persona states that Clora has ‘Engines more keen
than ever yet / Adorned a tyrant’s cabinet’. The metaphor comparing Clora’s impact on the persona to torture
tools highlights the excruciating emotional turmoil that Clora makes the persona feel. Here, he views her as
causing him pain. In another picture, he says that Clora is ‘Like Venus in her pearly boat’. The
simile compares Clora to Venue, the Greek goddess of love and often sexual experiences, and thus highlights
the emotional bliss that Clora makes the persona feel. Here, he views her as giving him pleasure. However,
another picture depicts Clora as raving ‘over his entrails’. The visual imagery of a man having his entrails dug out
and being examined by Clora highlights once again the pain she makes the persona feel. The view of Clora has
shifted back to one of pain. Hence, because the persona’s view of Clora’s impact on him keeps oscillating
between pain and pleasure, Marvell is thus able to present the duality of the impact a woman has on her lover.
Marvell also uses shifting viewpoints for religious reasons, namely to critique the value of religious poems. In
Marvell’s time, many poets often made religious poems with the intention of glorifying God. However, the poems
ended up glorifying the poet instead. Marvell highlighted this in The Coronet using viewpoint. The persona in the
poem states that he wishes to ‘weave’ ‘so rich a chaplet’ to ‘redress’ his wrongs. The conceit of comparing a
religious poem to a crown highlights the idea that the poet thinks that by creating a religious poem he is creating
a gift worthy of being presented to God. However, he soon finds ‘the serpent old’ ‘twining in his speckled breast’.
The visual imagery of a serpent being intertwined in the crown the persona created highlights the idea that the
gift the persona intends to offer to God has been tainted with sin, as represented by the biblical allusion to the
snake which caused Eve to sin. As such, the persona no longer views the poem he has created to be worthy of
God’s attention. Hence, because Marvell shifts the viewpoint of the persona in The Coronet from one that sees
his works as worthy of God’s attention to one that deems the same work unworthy, we see a larger critique of
religious poems during the Renaissance period through this poem.

In conclusion, Marvell consistently changes the viewpoints in his poems in order to show that there is a duality to
people and highlight the ever-present conflict between body and soul.

Strengths of this essay: This essay puts forth a generally clear and coherent argument that responds effectively
to the prompt quotation and to the question. The student demonstrates a clear understanding of viewpoint and is
able to accurately identify various shifts in viewpoint/perspectives in Marvell’s poetry. In addition, the choice of
evidence is effective and affords much scope for literary analysis. There is also sustained analysis of a range of
literary devices throughout the entire essay.

Areas for improvement:

On the whole, the coherence of the argument could have been improved. The introduction, conclusion and
thesis statements were often rather vague and should have been elaborated on more thoroughly. References to
contextual concepts were also too brief and not clearly explained. The student occasionally makes sweeping
generalisations about the Renaissance period too. Finally, each thesis statement is currently supported by a
close analysis of a single poem. It would be better if the student was able to discuss a few poems comparatively,
in order to demonstrate how these issues are observed across Marvell’s body of work.