Lettice Fairfax Rides Again
The undergrowth was thick, much of it brambles. No strawberries, but ivy and oaks—and lots of big flies, lots of mosquitoes. Marvell never mentioned them. I carelessly touched the edge of a leaf and was stung as if it had been a nettle. Nettles are there too, and the ground is wet and thick with leaf mould. The birds are big and easily frightened. In a hole in a tree, deep, where I cannot see, I hear baby birds. Animal noises startle me in this strange world. In such a wood, Marvell meditated on the trees and the birds. Indeed, in the poem he imagines himself become one with them.
To him, the wood is a place of power and mystery, protection and renewal, affording privacy and intimacy on the one hand, fecundity and imaginative bounty on the other. There, he is privileged to surrender his self-consciousness, to relax moral vigilance, to give up obsession and guilt. In submitting to sensuous nature, the poet contacts the Other in himself: Yet, in truth, it seems entirely unlikely that she would be walking so far from the house at such an hour: The pond is beautiful, even exotic. Ducks lead their ducklings. Baby corncrakes pad across the surface as if walking on spongy ground and hide in chinks in the retaining wall.
These corncrakes are the rails who are casualties of the mowing in the meadows section of the poem. As I walked the bank of the pond, a blue blur, and a whirr, flashed past me. My conclusion is based on my experience of Nunappleton as well as on explication of Upon Appleton House. Throughout the poem Marvell plays on the relations between far and near, outside and in. For example, if we experience Appleton House from a distance, by merely looking at it, we conclude that the house is obviously too small for Fairfax; yet when Fairfax himself enters the house, it expands to fit him.
In the meadows, large becomes small and small becomes large, as the poet is far from the mowing, then magically near: The latter movements of the poem describe a recurring pattern of extension and recollection. Indeed, I think that for Marvell the very process of writing the poem was a process of mediating between far and near, outside and inside. In that process he brought subconscious, alienated aspects of himself into a more satisfactory relationship with consciousness.
To put it another way, Marvell projects his anxieties beyond himself, towards Cawood Castle, into the masque of mowers—puts them in perspective, as it were. Then he brings them near, to make them part of a more relaxed and integrated self. At the beginning of the woods section, Marvell contrives the flood to strand his alter ego in the woods. There, his play is regressive; as Mark Pattison has suggested, Marvell can imagine himself again a schoolboy addicted to birdsnesting.
By the end of this movement, he can admit to being the indolent fisherman, whether on the riverbank or at the pond. Mary represents a principle of harmony. By praising her, the poet can turn his rediscovered creativity to proper use. What the poet himself experienced in the wood was intensely personal and individual. Yet the wood holds promise for the Lord General and perhaps his daughter as well, if only they will experience it.
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For as long as he could, Fairfax had endured the growing radicalization of the government and the Army. As Marvell imagines it, Thomas Fairfax might ride his horse into a lane, as so often he had during military maneuvers in Yorkshire. The trees, like troop at bivouac, would divide before their commander, find a proper order. Fairfax would tether his horse and walk into the wood, perhaps to find his own source of peace.
Therefore what first She on them spent, They gratefully again present. The meadow Carpets where to tread; The garden Flowers to crown her head; And for a Glass the limpid brook, Where she may all her beauties look; But, since she would not have them seen, The wood about her draws a screen. But what for her father would be a healing experience would for her be nurturing. The wood is near and secure; for her sake her parents have subdued the elements of the estate to a domestic order. Protected and disciplined there, she has no need to make a special act of withdrawal.
As the poem concludes, Mary has not yet emerged into this world beyond Nunappleton. Nonetheless, she has developed the confidence, understanding, and moral awareness that will serve her when she does. John Campbel of Mamore, 2 d. Colonel James Campbel 4 th. Anne, married to James Steuart, 2 d. Girony of Eight, Sable and Or, 2d. Malcolm is then Earl of Athole: Year of his Reign c. Year of his Reign, anno d.
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Te moriente novos accepit Scotia Cives, Accepitque novos te moriente Deos. Margaret, married to Alexander Earl of Eglintoun. Helen, to John Earl of Sutherland. Daughter of Sir Robert Norter, Knight, by whom he had. Mary, to the Reverend Mr. John Falconer, a Divine. Germans, he dyed not long ago. Rorert, a Colonel in the Scots Foot-Guards. The Coat of the Duke of Athole, viz. Azure, three Water-Budgets, Or. Edward who after his Brothers Death was Lord Sanquhar. Sir James Crichton of St. Anno b , was the Son of Mr. Which William was Educated at Court by Mr.
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Marjory, to William Lord Somervel. By her he had four Children. Praecipitique vides fulmine magna quati. Sir Henry Montgomery of Giffen, dyed without Children. Sir Alexander, a Colonel in Ireland, in which Kingdom he dyed. This Earl had moreover five Daughters,.
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He took to Wi [ George Hay of Logie, his Heir Male l. He departed this Life Anno n. He dying Anno p. Occidit Hayorum Princeps Errolius, orbis Nunc defiderium, qui fuit ante decus. Quid ultra Vel maruere homines, vel tribuere Dei? Lady Margaret, married to James Earl of Linlithgow. He departed this Life Anno Alexander killed at Flowdoun d. Margaret, married to James Abercromby of Birkenbog. Mary to Alexander Urquhart Sheriff of Cromarty.