But thirty thousand to the rest; An age at least to every part, And the last age should show your heart, For lady, you deserve this state, Nor would I love at lower rate. Marvell merged the rates of exchange with the rates of praise suited to the conventional and fashionably fragmented outlook of his inamorata. For her box-office approach to reality, he substituted another time-structure, and a different model of perception. It is not unlike Hamlet's "Look on this picture and on that." Instead of a quiet bourgeois translation of the medieval love code into the language of the new middle-class tradesman, why not a Byronic caper to the farther shores of ideal love? But at my back I always hear Time's winged chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Here is the new lineal perspective that had come to painting with Gutenberg, but that had not entered the verbal universe until Milton's Paradise Lost. Even written language had resisted for two centuries the abstract visual order of lineal succession and vanishing point. The next age after Marvell, however, took to landscape poetry and the subordination of language to special visual effects. But Marvell concluded his reverse strategy for the conquest of bourgeois clock-time with the observation Thus, though we cannot make our sun Stand still, yet we will make him run. He proposed that his beloved and he should transform