The second part of this paper, (and the third part in the next volume), focusing on the poet's surroundings in the middle of political turmoil of the mid-seventeenth century, propose two other possible causes for his attempt to exclude women from 'The Garden'. One cause, which I treat in this volume, is that Marvell, seeking after 'Fair quiet' (1.9) in 'The Garden', wanted to wall off noisy, aggressive women of the radical religious sects swarming and politically active outside his sanctuary. And if 'The Garden' has something to do with 'Upon Appleton House: To My Lord Fairfax', among the targets of his misoginistic jibe must have been intended Katherine Chidley, separatist and Leveller. In the mowers' scene in 'Upon Appleton House', Marvell seems to defend the rights of property owners such as his patron, Lord Fairfax, against the radical claims of the Levellers and Diggers by letting the mowers reflect those disruptive sects and playing up their violence. The paper points out that Thestylis in 'Upon Appleton House' obliquely reminds the reader of some of the words and images which Katherine Chidley uses in her pamphlet, The Justification of the Independent Churches of Christ (1641). For example, when Thestylis barbarously trusses the rail up, Marvell is appropriating Judges 4:21 with which Chidley prefaced her work, and emphasizing the violent and cruel side of Jael's heroic deed of piercing Sisera's temples with a stake.