Andrew Marvell Matthew C.

Augustine
Visit to download the full and correct content document:
https://ebookmass.com/product/andrew-marvell-matthew-c-augustine/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Is That a Big Number? Andrew C. A. Elliott

https://ebookmass.com/product/is-that-a-big-number-andrew-c-a-
elliott/

Augustine, Martyrdom, and Classical Rhetoric Adam Ployd

https://ebookmass.com/product/augustine-martyrdom-and-classical-
rhetoric-adam-ployd/

Orthodox Radicals: Baptist Identity in the English

Revolution Matthew C. Bingham

https://ebookmass.com/product/orthodox-radicals-baptist-identity-
in-the-english-revolution-matthew-c-bingham/

Orthodox Radicals (Oxford Studies in Historical

Theology) Matthew C. Bingham [Bingham

https://ebookmass.com/product/orthodox-radicals-oxford-studies-
in-historical-theology-matthew-c-bingham-bingham/
The History of Matthew Wald: John Gibson Lockhart
Thomas C. Richardson (Editor)

https://ebookmass.com/product/the-history-of-matthew-wald-john-
gibson-lockhart-thomas-c-richardson-editor/

English Humanism and the Reception of Virgil c.

1400-1550 Matthew Day

https://ebookmass.com/product/english-humanism-and-the-reception-
of-virgil-c-1400-1550-matthew-day/

African psychology: the emergence of a tradition

Augustine Nwoye

https://ebookmass.com/product/african-psychology-the-emergence-
of-a-tradition-augustine-nwoye/

Eratosthenes and the Measurement of the Earth's

Circumference (c.230 BC) Christopher Matthew

https://ebookmass.com/product/eratosthenes-and-the-measurement-
of-the-earths-circumference-c-230-bc-christopher-matthew/

Animal Locomotion (C Oabs T Oxford Animal Biology) 2nd

Edition Andrew Biewener

https://ebookmass.com/product/animal-locomotion-c-oabs-t-oxford-
animal-biology-2nd-edition-andrew-biewener/
Andrew
Marvell
A L it er a r y L i fe

Mat th e w C. Aug ustine

Literary Lives
This classic and longstanding series has established itself making a major
contribution to literary biography. The books in the series are thoroughly
researched and comprehensive, covering the writer’s complete oeuvre. The
latest volumes trace the literary, professional, publishing, and social contexts
that shaped influential authors—exploring the “why” behind writers’ greatest
works. In its thirtieth year, the series aims to publish on a diverse set of writers—
both canonical and rediscovered—in an accessible and engaging way.

More information about this series at

http://www.palgrave.com/gp/series/14010
 Matthew C. Augustine

Andrew Marvell
A Literary Life
Matthew C. Augustine
School of English
University of St Andrews
St Andrews, UK

Literary Lives
ISBN 978-3-030-59289-9    ISBN 978-3-030-59287-5 (eBook)
https://doi.org/10.1007/978-3-030-59287-5

© The Editor(s) (if applicable) and The Author(s) 2021

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the
whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations,
recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or informa-
tion storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does
not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective
laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the
editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or
omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in
published maps and institutional affiliations.

Cover illustration: © FALKENSTEINFOTO / Alamy Stock Photo

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
For Julian
 Acknowledgments

One of the themes of this book is the ‘manyness’ of Marvell’s authorship, his
patronage relations, his collaborations with the living and the dead, his habits
of borrowing and ventriloquism, of transprosing and transversing. So nothing
could be more appropriate than to acknowledge, with humility and pleasure,
the various debts and borrowings that underwrite my own endeavours in
these pages.
The historical spine of the book relies extensively on the work of seventeenth-­
century historians which can in no way be adequately acknowledged by means
of the minimal apparatus of books in this series. Where specific citations are
given, a more general debt may usually be assumed. Some of the historians to
whom I have most often turned in writing the book include Glenn Burgess,
Patrick Collinson, Barry Coward, Tim Harris, Ann Hughes, Mark Knights,
Ronald Hutton, John Miller, Steven Pincus, Jacqueline Rose, Conrad Russell,
Jonathan Scott, Paul Seaward, Quentin Skinner, John Spurr, Nicholas Tyacke,
Austin Woolrych, and Blair Worden. Reading them more deeply than I had
done previously has been its own reward, and I can only hope they think their
work was put to good use.
My debts to the most recent generation of Marvell’s editors and biogra-
phers—Annabel Patterson, Martin Dzelzainis, Nicholas von Maltzahn, Neil
Keeble, and Nigel Smith—are more substantial still. With respect to Martin,
Nick, and Nigel, they are also personal. Not only have they encouraged my
work for many years, they have also responded to my numerous queries
with the same diligence and patience for which they are known in their
scholarship. I can’t thank them enough.

vii
viii Acknowledgments

Friends and colleagues in the Andrew Marvell Society have provided a

lively community for the sharing of work in progress, and their own writings
have of course variously shaped and challenged my view of Marvell’s life and
work. For their wisdom and fellowship, in addition to those named above, I
am especially grateful to Steph Coster, Geoffrey Emerson, Joan Faust, Alex
Garganigo, Blaine Greteman, Nick McDowell, Ryan Netzley, Brendan
Prawdzik, Tim Raylor, Jonathan Sawday, and David Simon. Here Joanna
Picciotto deserves special mention: her boundless enthusiasm for the project
urged it forward in low moments, and amidst much other more pressing busi-
ness, she generously read the whole manuscript before it went to press; to her
I am very grateful indeed. Within my home department, Christina Alt,
Harriet Archer, Giulio Pertile, and Nick Rowe read and commented on ver-
sions of several chapters; I thank them for their care and for their untiring
collegiality. I am also grateful to Emma Buckley and Edward Paleit for advance
sight of their edition of Thomas May’s Lucan’s Pharsalia. The timely comple-
tion of this book was made possible by a semester of teaching leave in Spring
2019, and I am grateful to the School of English and the College of Arts and
Divinity at St Andrews for that sabbatical.
At the Hull Charterhouse, the resident historian Ann Godden provided
much valuable information concerning the historical buildings and grounds.
The Master, Rev. Canon Paul Greenwell, welcomed me with extraordinary
grace, and indeed, we sat with the ghost of his predecessor, Andrew Marvell
Sr, and with the poetry of the Charterhouse’s most famous son, a communion
unlikely to be repeated in this life. For that experience, Paul is most warmly
remembered.
Years ago, on submitting my first article for publication, a reviewer tartly
commented that the essay seemed too much an argument with the author’s
teachers. But who better to argue with about Marvell’s poetry than Derek
Hirst and Steven Zwicker? This slightly childish response is I hope at least
partially vindicated by the publication of this book, the product of a now
decades-long conversation with those incomparable scholars, teachers, and
friends. Amidst the isolation of intense work on the manuscript compounded
by the arrival of a global pandemic, the company of their writing, their emails,
and Steve’s regular phone calls from across the Atlantic has been sustaining in
ways far beyond the recompense of these acknowledgments, but I thank them
all the same.
 Acknowledgments ix

I would also like to thank the Press’s two anonymous readers for their many
fruitful suggestions.
The privilege of writing this book has been paid for most dearly by those
most dear to me. To Katie, as ever, thank you for all that you are and do. To
Julian, of indefatigable cheer, this book is dedicated, as promised.

MCA
August 2020
 A Note on the Text

The presentation of the text in this book reflects a set of imperfect compro-
mises. At the advice of the press and in keeping with the series’ aim ‘to publish
in an accessible and engaging way’, quotations from texts in old spelling have
been silently modernised throughout. This decision bears most vexingly on
the presentation of Marvell’s prose, the original appearance of which is pre-
served with great care (though not unvaryingly) in the standard Yale edition.
But to make an exception of Marvell’s prose and retain its original spelling,
capitalisation, and so on would be to make it stand out as awkward and old-
fashioned when what one wants to emphasise about Marvell’s prose is exactly
its modernity. At the same time, one does want to retain aspects of orthogra-
phy and typography which are deliberate and rhetorical, for instance, when
medial capitalisation serves to personify a noun or italic type is used to iden-
tify quoted language or for purposes of visual debate. When quoting from
texts in old spelling, I have thus sought as far as possible to convey the effect
achieved in the original while upholding the standard of modernisation. I
have preserved initial capitalisation of honorific nouns in quotations, for
example, ‘King’, ‘Church’, and ‘State’, but not that of ancillary forms, for
example, ‘kingdom’. Where it seemed best to reproduce original spelling or
punctuation, it is so noted parenthetically.

xi
 Contents

1 Introduction: A Literary Life?  1

2 Andreae Filiae: East Riding, Yorkshire, 1621–1633  9

3 In loco parentis: Cambridge, 1633–1641 29

4 ‘Our wits have drawn th’infection of our times’: London and

the Continent, 1641–1650 51

5 ‘Some great prelate of the grove’: London and Nun Appleton,

Yorkshire, 1650–1652 91

6 ‘With my most humble service’: England and the Continent,

1652–1659131

7 ‘His anger reached that rage which passed his art’: England,
the Netherlands, and the Baltic, 1659–1667161

8 ‘The interest and happiness of the king and kingdom’: London,

1667–1678187

Index229

xiii
 Abbreviations

ELH English Literary History

ELR English Literary Renaissance
HJ Historical Journal
HLQ Huntington Library Quarterly
MP Modern Philology
N&Q Notes & Queries
RES Review of English Studies
SC The Seventeenth Century
SEL Studies in English Literature 1500–1900
SP Studies in Philology
TLS Times Literary Supplement

Frequently Cited Works

1681 Miscellaneous Poems, by Andrew Marvell, Esq. (London, 1681)
Chameleon Nigel Smith, Andrew Marvell: The Chameleon (New Haven: Yale
University Press, 2010)
Chronology Nicholas von Maltzahn, An Andrew Marvell Chronology (New York:
Palgrave Macmillan, 2005)
CJ Journal of the House of Commons (1547–1699), 12 vols. (London:
His Majesty’s Stationary Office, 1802)
ConstDoc The Constitutional Documents of the Puritan Revolution, ed.
S. R. Gardiner, 3rd ed. (Oxford: Clarendon Press, 1906)
CPW Complete Prose Works of John Milton, gen. ed. Don M. Wolfe, 8 vols.
(New Haven: Yale University Press, 1953–82)
HPHC The History and Proceedings of the House of Commons (1660–1739),
14 vols. (London: Richard Chandler, 1742)
ODNB Oxford Dictionary of National Biography

xv
xvi Abbreviations

OED Oxford English Dictionary

Pepys The Diary of Samuel Pepys, ed. Robert Latham and William Matthews, 11
vols. (London: George Bell, 1970–83)
P&L The Poems and Letters of Andrew Marvell, ed. H. M. Margoliouth, rev.
Pierre Legouis with E. E. Duncan-Jones, 3rd ed. (Oxford: Clarendon
Press, 1971)
Poems The Poems of Andrew Marvell, ed. Nigel Smith, rev. ed. (London:
Longman, 2007)
PW The Prose Works of Andrew Marvell, ed. Annabel Patterson, Martin
Dzelzainis, Nicholas von Maltzahn, and N. H. Keeble, 2 vols. (New
Haven: Yale University Press, 2003)
 1
Introduction: A Literary Life?

What is a ‘literary life’, and why should Andrew Marvell be in need of one?
Certainly not for want of recent attention. A century ago, in a famous essay
published in the TLS, T. S. Eliot proposed to ‘bring the poet back to life’ by
squeezing the drops of two or three poems (Eliot 1975, 161). Seventy years later,
in 1990, Frank Kermode and Keith Walker’s Oxford Authors edition of Marvell
could proclaim him ‘the most important seventeenth-century poet after John
Milton’. And indeed, the mass of literary, biographical, and editorial commen-
tary devoted to Marvell’s relatively slim body of work over the last several decades
is little short of astonishing. The emphasis on ‘poet’ in the OUP brief might give
us pause, however, insofar as the study of Marvell in the latter part of the twen-
tieth century can be characterised by a paradigm shift, from Eliot’s poet of ‘tough
reasonableness beneath the slight lyric grace’ to what Annabel Patterson has
called ‘the writer in public life’. In the course of this shift, scholarly attention has
been broadly transferred from the domains of lyric invention and lyric possibil-
ity to the more civic preoccupations of panegyric, satire, and animadversion.
Modern biography of Marvell follows much the same pattern. Pierre
Legouis’s André Marvell: Poète, Puritain, Patriote (1621–1678) was begun in
the same year as Eliot’s essay and completed in 1928; an English abridgement
was published in 1965. Legouis’s would remain the standard biography until
2010, with the publication of Nigel Smith’s deeply researched and essential
study Andrew Marvell: The Chameleon. Highlighting his differences with
Legouis, Smith observes that by page 20 of Poet, Puritan, Patriot, ‘Marvell has
arrived at Nun Appleton, but his life was more than half over’ (Chameleon, 6).
Nun Appleton, the Yorkshire estate where Marvell served as tutor to the
daughter of Thomas Lord Fairfax, is where we think Marvell wrote much of

© The Author(s), under exclusive license to Springer Nature Switzerland AG 2021 1

M. C. Augustine, Andrew Marvell, Literary Lives,
https://doi.org/10.1007/978-3-030-59287-5_1
2 M. C. Augustine

his greatest poetry, including his masterpiece, ‘Upon Appleton House’.

Legouis hastens towards this idyll in Marvell’s career; his section on ‘The
Lyrical Poet’, at 64 pages (of 252), is the longest in the book. By contrast,
Smith has Marvell arrive at Nun Appleton on page 88 and depart on page 110
of a Life that runs to some 350 pages. Attuned as it is to actions and events,
The Chameleon turns resolutely from the world of private otium to that of
public negotium, where it is led by the rich archive of material associated with
Marvell’s state employments, first as a secretary in Cromwell’s Protectorate,
then as MP for Hull, a position Marvell held for the last twenty years of his
life. The biography’s literary vantage point is thus shifted away from the lan-
guishing numbers of Nun Appleton and towards the Cromwell poems and
Marvell’s satires and pamphlets of the Restoration.
The advantage, the rationale of a ‘literary life’ is a degree of liberty from the
standard biographer’s duty to life records and the material trace. My account
of Marvell’s life places his body of lyric verse at the centre, ordering and illu-
minating everything else. With the ‘Horatian Ode’, Marvell wrote perhaps
the greatest political poem of the seventeenth century, indeed some would say
in the English language. But he also wrote superbly when he turned his hand
to the poetry of carpe diem (‘To His Coy Mistress’), to the lover’s complaint
(‘The Definition of Love’), to philosophical meditation (‘Eyes and Tears’, ‘On
a Drop of Dew’, ‘The Garden’), to sacred verse (‘The Coronet’), to the fictions
of pastoral (the Mower poems), to epicedium (‘The Nymph Complaining’),
and to chorography or country-house poem (‘Upon Appleton House’).
Indeed, it is hard to think of another poet in Marvell’s time, or any time for
that matter, who mastered so many of the prevailing genres of his age. It is the
more remarkable that Marvell seems to have withheld much of his lyric verse
from public view, writing for only select coteries and indeed often just for
himself—his Poems were not published until 1681, ‘being found since his
death among his other papers’ (‘To the Reader’).
Reemphasising the poems that have appealed to generations of readers
need not mean slighting Marvell’s turn in the mid-1650s to a more public
mode of writing and to the work of politics. That career is compelling in its
own right, and Marvell’s advocacy for religious toleration and freedom from
arbitrary government still speak urgently to the present. Moreover, this book
shares the view that Marvell was often just as witty and as ‘literary’ in his
political satires and prose pamphlets as he is in his lyrics. A varied genius is
still the same genius—it makes little sense to treat Marvell as if he were split
in two by the forces of history. But neither does this book purport to unravel
‘the figure in the carpet’ of Marvell’s writing. It is tempting to suppose the
existence of such a key to Marvell’s work, some ethical ideal, some
 1 Introduction: A Literary Life? 3

metaphysical quiddity ‘to make a whole man out of this poet with too many
personae’ (Patterson 1978, 5). And indeed, as is implicit in the very project of
fashioning a ‘literary life’, this book seeks at least a measure of such coherence
in writing itself. Like previous biographers and critics, I seek to contextualise
and to explain apparent gaps, elisions, and contradictions in both Marvell’s
real and his imagined life. Where others have sought to see through Marvell’s
masks and ironies or see past his chameleon shifts, however, this book holds
that contextualisation often brings us to the brink of mystery but no further,
making room for the delight many readers take in the sense that Marvell’s
poetry holds an unfathomable secret.
Needless to say, Marvell gave little thought to the figure he would cut in
future biographies, or to having or leading something that we might call a
‘literary life’. He withheld most of his poetry from view, and, with a few
exceptions, maintained his anonymity even in those works he did choose to
publish or circulate. And unlike, say, his friend John Milton, who could hardly
resist writing about himself, and who cast himself variously as a second Homer
or Orpheus, or as touched by holy fire like the prophet Elijah, Marvell typi-
cally holds himself aloof in the shadows of his work. Marvell’s literary lives
have thus been significantly shaped by the interests of those who saw fit to
provide such a life for him. Soon after his death, for instance, he was cele-
brated as a Whig patriot and hailed in some circles as ‘the poet laureate of the
dissenters’. This (still active) image of Marvell belies, however, the change-
ability of his political allegiances, the complexity of his patronage ties, his
scrupling over being ‘mistaken’ for a dissenter. Such labels are also prone to
backfilling—to the discovery of clues or traces which point to the future.
Eliot’s aestheticizing of Marvell is of course no less motivated, no less ‘politi-
cal’ than the Whig history it disrupts: Eliot holds up ‘the really valuable part’
of Marvell’s verse as an emblem of European culture before the onset of a
spiritually deadening modernity. In the absence of a knowable author,
Marvell’s writings mark out a discursive space unusually open to the projec-
tions and idealisations of critics.
It would be at once deceiving and self-deceiving to suggest that this life of
Marvell was not also conditioned by the values of the people and institutions
which have produced it. Nonetheless, I have tried to honour Marvell’s reti-
cence to be made an icon, even for those causes he courageously supported (to
say nothing of causes which he scarcely imagined). We must be responsive as
well to some of the particular challenges posed by the nature of Marvell’s lit-
erariness. Under the tutelage of modern criticism, we have learned to see him
as a ventriloquist, a magpie, a great ‘borrower of other men’s words’ (Patterson
2000, 4). His most famous poem, ‘To His Coy Mistress’, combines overt
4 M. C. Augustine

parody of Cavalier tropes and the figurative excesses of metaphysical verse

with subtle but pervasive echoes of neo-Latin poetry—a remix, as it were, of
other poets and other poems. This habit of recall, and what we might term
pastiche, extends also to Marvell’s polemical work and is part of what makes
it so difficult to pin down Marvell’s own convictions. When he chose to enter
the arena of Restoration prose controversy, for instance, he did so by rework-
ing (‘transprosing’) a popular dramatic burlesque called The Rehearsal, hence
The Rehearsal Transpros’d. It is a basic principle of post-Romantic literary the-
ory that all art comes from other art; this is acutely so in the case of Marvell,
whose whole poetic may be summed up in that Latin prefix trans—crossing
‘from one place, person, thing, or state to another’. For this reason, Marvell’s
texts are often best viewed in terms of their encounters with other texts,
viewed, in other words, as scenes of reading.
This idea allows us to chart precisely some of the junctures between Marvell’s
life and art: for reading, as scholars increasingly recognise, is an inherently
embodied and historically conditioned activity. As Thomas McLaughlin
(2015) remarks, ‘Reading is a physical practice that requires a vast social peda-
gogy. Hands and eyes and brains need to learn the procedures and respect the
logic of the practice. Reading socialises the body, subjects it to a powerful
discipline. Yet, all reading bodies are unique, differently capable, differently
socialised. Reading practices are enacted by specific, idiosyncratic bodies in
concrete, complex physical and social environments’ (2). This book is an
attempt to trace out the history of a specific, idiosyncratic body reading (and
writing) within a series of concrete, complex physical and social environ-
ments: under the roof of Marvell’s father, the Rev. Andrew Marvell, in the
East Riding of Yorkshire; at Trinity College, Cambridge; on the Continent
and in London during and just after the English civil wars; at Nun Appleton,
in the employ of Lord Fairfax; in service to Cromwell, both at home and
abroad; and back in London, at Westminster, and in the coffee houses, print
shops, and libraries Marvell frequented during the Restoration.
Such an approach finds sanction in the fact that reading, writing, and their
attendant pedagogies figure importantly across the body of Marvell’s work. As
a professional tutor, as a literary client to various patrons and constituencies,
as a government functionary with specific responsibility for diplomatic cor-
respondence, as a highly valued gatherer of intelligence, and as a writer who,
after the Restoration, largely operated outside the law, Marvell was uniquely
attuned to the application of linguistic acts and arts. Reading and its pedago-
gies are engaged in even the tenderest of circumstances. In a letter from
Marvell to his friend John Trott, for instance, Marvell consoles Trott on the
loss of his son. ‘Only, as in difficult things,’ Marvell advises the grieving father,
 1 Introduction: A Literary Life? 5

‘you will do well to make use of all that may strengthen and assist you. The
word of God: the society of good men: and the books of the Ancients’ (1681,
69). Reading’s pedagogy is a balm against the ‘dissoluteness of grief ’ and
‘prodigality of sorrow’ (67). But it is not hard to see that the letter itself is a
fruit of the reading practices it prescribes, in its bounty of instructive parallels
and scriptural allusions. In this way, it is also a token of ‘the society of good
men’. The letter cements the social and affective bond between Marvell and
Trott and speaks to a shared culture of ‘exemplary reading’ and epistolary (not
to mention poetic) exchange (see Zwicker 2002).
But the experience of reading could also be the locus of all-too-real abra-
sions. In The Rehearsal Transpros’d, Marvell chides the intemperance and cru-
elty of the Oxford cleric Samuel Parker, commenting archly: ‘I must confess
at this rate the nonconformists deserve some compassion: that after they have
done or suffered legally and to the utmost, they must still be subjected to the
wand of a verger, or to the wanton lash of every pedant; that they must run
the ganteloop [gauntlet], or down with their breaches as oft as he wants the
prospect of a more pleasing nudity’ (PW, 1:82). Marvell speaks here to the
common experience of early modern schoolboys, who were routinely beaten
for fumbling their grammar exercises. But he also points to the repressed
drives that structured such a manner of teaching by schoolmasters and church-
men. In his poetry, Marvell is repeatedly drawn to representing scenes of
endangered innocence, often in tones which do not altogether belong to the
conventions of pastoral. As a Member of Parliament and Restoration polemi-
cist, he inveterately opposed what he saw as the rapacity of the clergy; the
so-called Bishop’s Bill of 1677, which would have deputed the education of
royal children to the bishops, was the occasion of Marvell’s longest speech in
the House and moved him to a vehemence for which he felt obliged to apolo-
gise (see Grey 1769, 4:322). Such evidence is admittedly fragmentary and
open to interpretation, but it has been taken by some to suggest, as indeed I
take this evidence to suggest, that Marvell understood perhaps too well the
collocation of reading, authority, and abuse, and moreover that such knowl-
edge was integral—if painfully so—to Marvell’s writing life (see Hirst and
Zwicker 2007, 2012).

* * *

Here we might acknowledge the more immediate occasion of this book,

which is the approaching quatercentenary of Marvell’s birth in March 2021.
The marking of a four hundredth birthday is surely as good a reason as any to
6 M. C. Augustine

reassess a major author, and in the century since Eliot’s ‘resurrection’ of

Marvell, a major author is undoubtedly what he has become. Perhaps more
decisive for the writing of this book, however, is the sentiment expressed by
Rosalie Colie at the outset of her brilliant study ‘My Echoing Song’ (1970), the
only justification any work of literary criticism could ever have or need:
‘Marvell’s work was and remains too hard for me’ (vii). When we have said all
there is to say about a writer, when our understanding seems more or less suf-
ficient to its object, we turn elsewhere. The endurance of Marvell in the criti-
cal consciousness of the last century, and in particular the flowering of Marvell
scholarship over the last forty years, speak clearly to the fact that Marvell is a
writer who continues to fascinate (and perplex) not just those new to his work
but also—perhaps especially—the community of readers most devoted to
him, that is, his critics, historians, and biographers.
It may be that this book will be read mainly by students and scholars, but
I have tried to write it for the benefit of anyone who wants a way of putting
this writer, if not exactly together, at least into perspective: the life within the
world, the work within the life. Care has been taken to cover Marvell’s career
from beginning to end, and though my account concentrates most deeply on
matters of poetry, it honours the potency and historical force of the prose as
well. From the beginning, it was important to me that the book should also
give an adequate account of the political developments that shaded Marvell’s
historical experience, and which found reflection—both directly and indi-
rectly—in his writing. Achieving a suitable depth of political narrative some-
times came at the cost of this narrative appearing to run parallel to that of
Marvell’s life. My hope is that readers will find connections between the
national and the personal biography in the contingent flux of interest and
allegiance thematic of both. With respect to commenting on the poetry, my
strategy has been to privilege depth over breadth, eschewing potted readings
of dozens of poems in favour of detailed and original explorations of a smaller
number of texts in different genres.
In organising the contents of the book, I have deliberately tried to avoid the
impression that Marvell’s writing life falls into a series of discrete chapters,
that he is first a lyric poet, then a writer of panegyric, then a satirist and politi-
cian, and so on. Marvell’s writing habitually blurs the boundaries of genre,
and his preoccupations are not linear but recursive, appearing and reappear-
ing without respect for tidy biographical narrative. Above all, I have tried to
foreground here the acts of reading that comprise Marvell’s art no less than
they comprise the historical reception of that art—the ways in which Marvell
found his voice in and through the voices of others and the ways in which we
continue to make him speak anew. Like most all stories of reading and
 1 Introduction: A Literary Life? 7

writing, this one begins at home, and it is to Marvell’s early life, at home in
east Yorkshire, that we now turn.

References
Colie, Rosalie. 1970. ‘My Echoing Song’: Andrew Marvell’s Poetry of Criticism.
Princeton: Princeton University Press.
Eliot, T.S. 1975. Selected Prose of T. S. Eliot. Ed. Frank Kermode. London: Faber.
Grey, Anchitell. 1769. Debates of the House of Commons, from the Year 1667 to the Year
1694. 10 vols. London.
Hirst, Derek, and Steven N. Zwicker. 2007. Eros and Abuse: Imagining Andrew
Marvell. ELH 74 (2): 371–395.
———. 2012. Andrew Marvell, Orphan of the Hurricane. Oxford: Oxford
University Press.
Kermode, Frank, and Keith Walker, eds. 1990. Andrew Marvell. Oxford Authors.
Oxford: Oxford University Press.
Legouis, Pierre. 1928. André Marvell: Poète, Puritain, Patriote (1621–1678). Paris;
London: Henri Didier; Oxford University Press.
———. 1965. Andrew Marvell: Poet, Puritan, Patriot. Oxford: Clarendon Press.
Marvell, Andrew. 1681. Miscellaneous Poems by Andrew Marvell, Esq. London.
———. 2003. Prose Works of Andrew Marvell. Ed. Annabel Patterson, Martin
Dzelzainis, Nicholas von Maltzahn, and N. H. Keeble. 2 vols. New Haven: Yale
University Press.
———. 2007. Poems of Andrew Marvell. Ed. Nigel Smith. Rev. ed. London: Longman.
McLaughlin, Thomas. 2015. Reading and the Body: The Physical Practice of Reading.
Basingstoke: Palgrave Macmillan.
Patterson, Annabel. 1978. Marvell and the Civic Crown. Princeton: Princeton
University Press.
———. 2000. Andrew Marvell: The Writer in Public Life. New York: Routledge.
Smith, Nigel. 2010. Andrew Marvell: The Chameleon. New Haven: Yale University Press.
Zwicker, Steven N. 2002. Habits of Reading and Early Modern Literary Culture. In
The Cambridge History of Early Modern English Literature, ed. David Loewenstein
and Janel Mueller, 170–200. Cambridge: Cambridge University Press.
Another random document with
no related content on Scribd:
je ne saisirais pas le premier prétexte venu pour me dégager de ma
parole.
A ces mots, je partis d’un éclat de rire homérique, et m’étant
installé dans un fauteuil, aussi loin d’elle que possible : — C’est trop
fort, ma chère, lui dis-je. Vous verrez que le criminel, c’est moi ; que
vous avez à vous plaindre de mes trahisons et de mes perfidies ;
que l’autre soir, après vous avoir tendrement embrassée, je suis allé
tout courant offrir à une autre femme mon cœur et mes lèvres. Ne
pourriez-vous être sincère une fois dans votre vie et m’accorder que,
si vous êtes plus sensible que tendre, vous êtes encore plus
ambitieuse que sensible ? Le secret de votre conduite est dans le
mot de la bohémienne. Convenez que les femmes de votre
caractère ont la manie de courir deux gibiers à la fois, et que vous
vous êtes amusée à coucher en joue tour à tour un lapin, qui est
votre serviteur, et un lièvre qui s’est appelé tantôt le baron Grüneck,
tantôt M. de Mauserre. Le lièvre a gagné pays ; je vous défie bien de
rattraper le lapin.
Elle jeta un cri d’horreur, me somma de me taire, de ne pas
insulter à son amour ; pourtant elle finit par avouer qu’il y avait une
part de vérité dans mon explication. — Eh bien ! oui, je la confesse,
s’écria-t-elle d’une voix déchirante, hier encore j’avais deux âmes qui
se combattaient comme en champ clos. Dieu soit loué, l’une a
succombé, le malheur l’a foudroyée ; il n’y a plus de vivant en moi
que l’âme qui vous aime, qui est à vous tout entière.
Trois secondes après, avant que je m’en fusse avisé, elle s’était
agenouillée à mes pieds, et j’eus beau me débattre, elle s’empara de
vive force de mes deux mains. Que ne puis-je vous rendre les
emportements de son éloquence ! Elle me fit les déclarations les
plus tendres, les plus passionnées, que ma modestie se refuse à
répéter, à savoir qu’elle m’adorait, qu’elle avait eu envers moi des
torts inqualifiables ; — que, si je lui faisais grâce, elle emploierait sa
vie à les racheter ; que je serais aimé comme jamais homme ne
l’avait été ; que je ne me doutais pas des trésors d’enthousiasme et
de dévouement que renfermait son cœur ; qu’elle ne vivrait, ne
respirerait que pour moi ; que je serais son tout, son univers, son
idéal et son dieu.
Au risque d’être taxé par vous de fatuité, j’oserai avancer qu’en
ce moment elle était sincère ; j’ajoute que, sincère ou non, elle était
étrangement belle, d’une beauté qui tenait tout à la fois du diable et
de l’ange. La douleur et la passion semblaient modeler son visage
comme le doigt du sculpteur la terre molle qu’il façonne ; il y avait sur
son cou, sur ses joues, sur son front, un jeu d’ombres et de lumières
dont je désespère de retrouver le secret. Dans la vivacité de son
action, ses cheveux s’étaient défaits et se répandaient en désordre
sur ses épaules ; sa guimpe aussi avait essuyé quelque avarie et
laissait à mon regard une périlleuse liberté. Elle avait les lèvres
ardentes ; ses yeux noyés ne quittaient pas les miens. Ils me
disaient clairement : — Ne vois-tu pas que je suis à toi ? Fais de moi
ce qu’il te plaira ! — Ils disaient aussi par manière d’a parte : — Si tu
succombes à la tentation, tu me garderas, et je t’épouserai.
Ce fut, madame, un moment critique. J’étais fort ému, je respirais
avec effort, ma tête s’allumait comme une rampe d’opéra, et je ne
sais en vérité comment cette scène aurait fini, quand il arriva tout à
coup… Madame, il arriva tout simplement qu’un des coqs du
château se mit à chanter à gorge déployée dans son pailler, et sa
voix claire, perçante, métallique et guerrière me fit bondir dans mon
fauteuil. Je revis mon père à son lit de mort : il me regardait. Le coq
chanta de nouveau ; j’entendis le tonnelier de Beaune qui me criait :
Tony, la vie est un combat ; défie-toi de tes entraînements ! — Et, le
coq ayant pour la troisième fois sonné sa fanfare, je contemplai
fixement Meta ; il me parut que ses grands yeux limpides
ressemblaient à ces beaux lacs africains aux eaux d’azur, dans
lesquels il y a des crocodiles.
Elle m’observait avec anxiété, se demandant à qui j’en avais. Je
la repoussai doucement, je me remis sur mes pieds, je la contraignis
d’en faire autant ; je la pris par le bras, je traversai la chambre avec
elle, j’ouvris la porte, je lui montrai du doigt le corridor, l’escalier et la
lampe qui les éclairait. Elle eut une défaillance, elle en triompha sur-
le-champ. Froissant ses cheveux dans ses mains, elle me cria d’un
ton prophétique et comme saisie subitement des fureurs d’une
sibylle : — Maudite soit la femme que tu aimeras ! — Cela dit, elle
disparut comme un fantôme.
Trois heures plus tard, elle avait quitté les Charmilles, où son
départ laissait quelques cœurs soulagés et une petite fille tout à fait
inconsolable. En voyant s’ébranler la voiture qui emmenait sa
gouvernante, la pauvre enfant perça l’air de ses cris.
Est-il nécessaire d’ajouter que M. et Mme de Mauserre sont
mariés ? Lulu n’aura plus d’autre institutrice que sa mère, qui depuis
son aventure est devenue un peu moins confiante et un peu plus
matineuse. M. de Mauserre est rentré dans la vie publique par la
députation ; il siége à la chambre dans la partie la plus raisonnable
du centre droit, mais en ayant soin de voter quelquefois contre le
gouvernement. On assurait l’autre jour qu’il était à la veille d’obtenir
un poste considérable.
Une nuit de l’hiver dernier, je faisais route de Lyon à Valence, où
j’allais voir un ami. Je partis de la gare de Perrache seul dans mon
wagon, dont la lampe éclairait faiblement. Je rabattis mon bonnet
fourré sur mes yeux, je m’allongeai sur un coussin, et je
commençais à m’endormir, lorsque à Vienne trois femmes montèrent
dans mon compartiment. A leur costume, je les reconnus pour des
diaconesses protestantes, et par quelques propos, que je saisis à la
volée, je crus comprendre qu’elles se rendaient en Italie pour y
diriger une école évangélique. Elles étaient jeunes et fort jaseuses ;
parlant allemand, elles ne firent pas difficulté de continuer leur
conversation devant moi. Le visage enfoui dans le collet de ma
pelisse, je ne donnais aucun signe de vie ; Dieu sait pourtant que je
les écoutais.
L’une des trois paraissait exercer sur les deux autres le prestige
d’une abbesse, et, quoique sa voix fût douce, elle avait un ton
d’autorité où il entrait une nuance de hauteur. A propos de la
dernière guerre, elle en vint à dire que les Français sont un peuple
aimable, mais très-immoral et très-corrompu ; comme pièce à
l’appui, elle rapporta et déposa qu’elle était entrée comme institutrice
dans une maison française où se trouvait un peintre de grand
renom ; que dès le premier jour il s’était permis de lui faire un aveu à
la hussarde ; que le père de son élève, s’étant déclaré à son tour,
avait tout mis en œuvre pour la séduire ; que ces deux coqs
amoureux et fous de jalousie avaient failli se couper la gorge, et que,
pour se soustraire à leurs obsession, elle s’était vue réduite à
s’enfuir une nuit à travers mille périls, dont la grâce du ciel l’avait
sauvée.
Quand le train atteignit Valence, la conversation avait cessé. Les
deux plus jeunes de ces filles de Sion dormaient du sommeil de
l’innocence ; la troisième, celle qui parlait si bien, les yeux à demi
clos, rêvait à son passé ou à son avenir. Avant de descendre de
wagon, je me penchai vers elle, et à sa vive surprise je lui récitai les
deux premiers vers du Roi de Thulé, que je pris la liberté, — Goethe
me le pardonne ! — de retoucher un peu : « Il y avait à Thulé, lui dis-
je à l’oreille, une petite souris qui mentit jusqu’à son lit de mort. »

Es war ein Maüschen in Thule

Das log bis an das Grab.

Vous me demanderez, madame, si j’y pense encore à cette

souris, et si dans le fond du cœur… Ceci est mon secret ; devinez.
Vous me demanderez aussi ce qu’il faut conclure de mon histoire,
car vous n’aimez pas les histoires qui ne concluent point. La mienne
prouve qu’il est utile de savoir ce que signifie le chant du coq ; si
mon père ne m’avait enseigné cette belle science, je ferais peut-être
aujourd’hui le voyage de la vie avec une compagne bien distinguée,
mais bien dangereuse. Ensuite mon histoire vous explique pourquoi,
en m’offrant la main d’une charmante fille qui a des yeux célestes,
vous m’avez mis en défiance. J’en conviens, les yeux célestes me
font peur ; il y faut regarder de près et jusqu’au fond. Dieu vous
bénisse, madame, vous qui n’avez pas deux âmes, et qu’il nous
préserve à tout jamais des terrains glissants, des chemins à
fondrières, des volontés flottantes, des caractères équivoques, des
cœurs troubles et des consciences subtiles !
FIN
*** END OF THE PROJECT GUTENBERG EBOOK META
HOLDENIS ***

Updated editions will replace the previous one—the old editions

will be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project

Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United

States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country where
you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is

posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated with
Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or

providing access to or distributing Project Gutenberg™
electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using
the method you already use to calculate your applicable
taxes. The fee is owed to the owner of the Project
Gutenberg™ trademark, but he has agreed to donate
royalties under this paragraph to the Project Gutenberg
Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or
are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at
 the address specified in Section 4, “Information about
donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return
or destroy all copies of the works possessed in a physical
medium and discontinue all use of and all access to other
copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full

refund of any money paid for a work or a replacement copy,
if a defect in the electronic work is discovered and reported
to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite
these efforts, Project Gutenberg™ electronic works, and the
medium on which they may be stored, may contain “Defects,”
such as, but not limited to, incomplete, inaccurate or corrupt
data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other
medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES -

Except for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU
AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE,
STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER
THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR
ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF
THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If

you discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person or
entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR
ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status by
the Internal Revenue Service. The Foundation’s EIN or federal
tax identification number is 64-6221541. Contributions to the
Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.

The Foundation’s business office is located at 809 North 1500

West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any particular state visit
www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states

where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.

Please check the Project Gutenberg web pages for current

donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose
network of volunteer support.

Project Gutenberg™ eBooks are often created from several

printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included. Thus,
we do not necessarily keep eBooks in compliance with any
particular paper edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.