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In 1870 James Russell Lowell incorporated admiring comments on the Cromwell poems in his essay on Dryden (No. 72). In the next year or so, an enormously popular anthology—A Library of Poetry and Song, Being Choice Selections from the British Poets—appeared under the name of William Cullen Bryant and included three of the lyrics under appropriate rubrics; though Bryant was not himself responsible for the classification and arrangement, they had all passed his ‘cultured criticism,’ including, one presumes, the textual alterations.

16) As a result, when John Dove, ‘a Whig and a dissenter’ (see No. 50), published the first single life of Marvell in 1832, though ‘pillaging’ this and other sources, he included seventeen of the poems as well as extracts from the prose, while Hartley Coleridge, who unblushingly plagiarized Dove, included seven in one of the versions of his Life which appeared as an individual biography under the imprint of two different Hull publishers in 1835. The other version had appeared in the same year as Dove's as part of the Worthies of Yorkshire and Lancashire; though also indebted to Dove, this version relied on the letters to a greater degree with a consequent greater stress on Marvell's patriotic and parliamentary character.

84), for one, commenting on the ‘portly dulness of the mind’ that could term Marvell the ‘British Aristides,’ a narrow reflection on the efforts of Thomas Cooke whose two printings of the poems and letters had been ‘pillaged’ by so many others. A compensation of sorts was the developing realization that as a result of his public commitment there had been ‘the loss of a great English poet’ (No. 79). Exactly how that lost poet should be categorized remained critically uncertain. Was he classic or romantic, metaphysical or Augustan, Cavalier or Puritan, or—in witness now to the impact of the ‘Horatian Ode’ rather than to the controversial works—republican or royalist?

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