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Reception studies of Marvell have examined his political and high-cultural legacies but neglected comparatively low-cultural prose genres such as science fiction and fantasy. Most treat the poem as a romance in embryo, with sublimely vast scales of time and space subtending the adventures, separations, and reunions of loved ones.
In short, the Coy Mistress is thought to give in. As a group, these texts mark out a new subfield and provide a case study in reception, engaging with the poem in ways ranging from the superficial to the modest to the substantive. If the past is usable, consider three modern uses of Andrew Marvell. Exhibit B is the seduction scene in Philip K. He was silent: he inspected a Venusian snoffle-fur-bound copy of English poetry of the seventeenth century…. To Read article Coy Mistress. But the poem kept him from anticipation; he knew it too well—knew it and the experience it envisioned.
And led the way to her bedroom.
The fun only snowballs when we learn that Ann has seduced Sebastian, not vice versa, and for highly mercenary rather than erotic reasons. But this gender reversal seems fitting in a novel dominated by temporal reversal. Time essentially flows backward, with dead people dug out of their graves, like Sebastian, and living a Benjamin-Button-like life of reverse aging. References to the poem usually signal a romance plot in which loved ones reunite after long separation.
Most of them 25 quote a phrase from it in their titles. While all three tend to involve some form http://rectoria.unal.edu.co/uploads/tx_felogin/the-breakdown-of-the-basic-nature-of/my-brother-sam-is-dead-chapter-8-summary.php a romance plot set against the vastness of space and time, in Category 1 superficial engagement Marvell serves as mere ornament, as means to an end.
The writer clearly knows the poem and responds in some meaningful way sometimes parodically8 treating Marvell as more than ornament by extending or rethinking his subject matter. Just shy of a storm, works in Category 3 substantive engagement make Marvell more of an end than a means. Writers of SF see themselves as the cheeky ironists, cleverly taking the poet out of context. When they acknowledge his irony, it becomes a challenge to outdo him—their greatest irony being the application to a galactic future of a poem from the obscure past of a single planet.
What makes this study distinctive? Rather than seeking similarities of subject matter, plot, character, or setting and only then claiming them as allusions to Marvell, it investigates those elements only when invited by direct quotation.
In the interests of treating the texts within illustrative categories while placing them on a spectrum that acknowledges the messily analog nature of reality, what follows is a survey organized in order of increasing engagement, beginning with Category 1 Superficial Engagementcontinuing with Category 2 Modest Engagementand ending with Category 3 Substantive Engagement.
The same principle holds within categories, moving in Category 1, for example, from most superficial to least superficial.
If texts and authors have a Nachleben or afterlife, it seems appropriate in the nuclear age to consider their half-lives, full-lives, and even quarter-lives in SF. Category 1 consists of quarter-lives: stories quoting Marvell in paratexts such as titles and epigraphs but nowhere else.
At the upper end of the category least superficial engagementthe authors register the awe and wonder of a narrative unfolding over such a vast scale, while beginning to question the bliss of immortality. In a mildly dystopian future city, two awkward teens fall for each other against all odds.]