Abstract:

This essay presents a reading of Sir William Davenant’s previously unstudied poem “Epithalamium. The Morning after the Marriage of the Earl of Barymore with Mrs. Martha Laurence,” written in October 1656. The poem offers a significant comparison to Andrew Marvell’s near-contemporary wedding song for the marriage of Oliver Cromwell’s daughter Mary. It thereby sheds light on Cromwellian poets’ efforts to formulate a poetic language in which to address the Protectoral court. The essay contextualizes the poem in the political realignment of the Cromwellian regime in 1656–1657. It suggests that Davenant’s paradoxical style attempts to adapt the courtly epithalamium to the minimalistic religious settlement and the principle of toleration for Protestants that underpinned the Cromwellian coalition. In this way, the poem illustrates how the 1650s Davenant can be read as a Cromwellian poet, alongside Marvell, Edmund Waller, and even John Milton, developing his ambitious and idiosyncratic ideas about public festivity and civil religion.

摘要：

本文介绍了威廉·达文南爵士之前未研究过的诗《Epithalamium》的解读。 《巴里摩尔伯爵与玛莎·劳伦斯夫人结婚后的早晨》，写于 1656 年 10 月。这首诗与安德鲁·马维尔 (Andrew Marvell) 为奥利弗·克伦威尔 (Oliver Cromwell) 的女儿玛丽 (Mary) 创作的近乎当代的婚礼歌曲进行了重要的比较。因此，它揭示了克伦威尔派诗人为制定一种诗意语言以向保护宫廷发表讲话的努力。本文将这首诗置于 1656 年至 1657 年克伦威尔政权的政治重组背景中。它表明达文南特的矛盾风格试图使宫廷上皮丘适应极简主义的宗教解决方案和支撑克伦威尔联盟的新教徒宽容原则。通过这种方式，这首诗说明了如何将 1650 年代的达文南特视为克伦威尔式诗人，与马维尔、埃德蒙·沃勒，甚至约翰·弥尔顿一起发展他关于公共节日和公民宗教的雄心勃勃而独特的想法。