Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Andrew Marvell's Liminal Lyrics: The Space Between is an interdisciplinary study of the major lyric poems of seventeenth-century British metaphysical poet Andrew Marvell. The poet and his work have generally proven enigmatic to scholars because both refuse to fit into normal categories and expectations. This study invites Marvell readers to view the poet and some of his representative lyrics in the context of the anthropological concept of liminality as developed by Victor Turner and enriched by Arnold Van Gennep, Jacques Lacan, and other observers of the in-between aspects of experience. The approach differs from previous attempts to "explain" Marvell in that it allows multidisciplinary and multi-media contexts in a broad matrix of the areas of experience and representation that defy boundaries, that blur the line at which entrance becomes exit. This study acknowledges that the poems discussed, and, by implication, the entire corpus of Marvell's work and the life that produced it, derive from a refusal to draw a definite divide. In analyzing a small selection of Marvell's life and lyrics as explorations of various realms of liminality in word and image, readers can see a passageway to the poet's works that never really reaches a destination; instead, the unlimited possibilities of the journey remain. Thus, the in-between aspects of the poet and his poetry actually define his technique as well as his brilliance.

"In Before Modernism: Inventing American Lyric, Virginia Jackson argues that in the late eighteenth and early nineteenth centuries, Black poetics, in antagonism with White poetics, produced the conditions for the invention of modern American poetry. This is not a history of American poetry that begins with the Puritans and stretches to the present, or that jumps from the British Romantics to Walt Whitman, or that restricts the influence of African American poetry to a separate tradition; instead, this book emphasizes the many ways in which early Black poets invented what Phillis Wheatley Peters called "the deep design" of American lyric. Through readings of the poetics of Wheatley Peters, George Moses Horton, James Monroe Whitfield, and Frances Ellen Watkins Harper-as well as the poetics of now-neglected but once-popular White poets William Cullen Bryant and Henry Wadsworth Longfellow-Jackson suggests that Black poetics inspired the direction that American poetics has taken for the last two centuries. Thus this book represents not only a new history but a new theory of American poetry. Over the late eighteenth and early nineteenth centuries, as an idea of poetry based on genres of poems (ballads, elegies, odes, hymns, drinking songs, epistles, etc.) gave way to an idea of poetry based on genres of people (Black, White, male, female, Indigenous, etc.), almost all poetry became lyric poetry. Like everything else in America, what we now think lyric is can be traced back to the twisted paths that have determined what we now think people are and can be. This book tells that story, the story of American lyric"--