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The Pulter Project
pulterproject.northwestern.edu
Poem 8

On that
Unparalleled1
Prince Charles the First,
His Horrid Murder2

Edited by Sarah C. E. Ross

This poem is one of many that Pulter wrote on the fate of Charles I, from his imprisonment in 1647 until his execution and beyond. Some of these poems are elegies, and participate in the outpouring of elegiac literature on his death: see “On the Horrid Murder of that Incomparable Prince” (Poem 14) and “Let None Sigh More for Lucas or for Lisle [On the Same [2]]” (Poem 15), as well as the politicised insertion into her elegy on the death of her daughter, Jane Pulter (“Upon the Death of my Dear and Lovely Daughter, Jane Pulter” (Poem 10)). For royalist elegiac literature and a reading of Pulter’s poems in this context, see Sarah C. E. Ross, Women, Poetry, and Politics in Seventeenth-Century Britain (Oxford UP, 2015), pp. 153-7; Robert Wilcher, “Lamenting the King: 1649”, in The Writing of Royalism, 1628-1660 (Cambridge UP, 2001), pp. 287-307; and Nigel Smith on royalism and elegy, in Literature and Revolution in England, 1640-1660 (Yale UP, 1994), pp. 287-294.

This particular poem, however, is less elegiac in tone than several of Pulter’s others: it focuses less on grief and consolation than on a cosmological comparison between the sun and Charles I. Each of the eight-line stanzas follows the same structure: the first four lines describe a (lesser) celestial splendour, before there is a turn at the fifth line to the greater splendour of the sun, which is a figure for the monarch. The final stanza has an additional four lines extending the political implications of the metaphor. This common association of the sun and the monarch undergirds many of Pulter’s poems, often in a further association of sun-king-Christ; see, for example, “Let None Sigh More for Lucas or for Lisle [On the Same [2]]” (Poem 15), lines 38-45.

Pulter’s deep interest in cosmology and its metaphorical potential is evident throughout her work. See, for example, “The Revolution” (Poem 16), “The Center” (Poem 30), her two poems titled “Aurora” (Poems 3, 37), and “A Solitary Complaint” (Poem 54).

Compare Editions
i
1Those glittering globes of light which grace
2The vast expansion, when they leave their place
3Or hide their radiant heads, we never wonder;
4
Their place and splendency’s supplied by number3
.
5But should the sun forsake
the line ecliptic4
,
6Then total nature would be
epileptic5
;
7Just so’s our case since
royal Charles did die6
;
8In horrid, trembling trances now we lie.
9Coy
Asoph7
may her sparkling splendour hide
10Four hundred years, yet we no change abide,
11And
sad Electra8
may her beauties turn
12Away from us, yet none but Ilium burn.
13But if the sun in darkness be involved,
14Old nature’s fabric would be soon
dissolved9
;
15E’en so (aye me) since sacred
Caesar10
’s death
16Our spirits exhale, in sighs we turn to earth.
17Those
oviparous brothers11
so adored
18By navigators, would be
deplored12
19By none but
them13
, nor do we care or fear
20The one or both of them at once appear.
21But if the sun should lose his heat and light
22We should invaded be with death and night;
23So since our martyred sovereign’s
spirit’s14
fled
24Our light and life, our hopes and joys, are dead.
25Nay, should the
poles or axes of the sky15
26Their radiant lustre unto us deny,
27Or
Cynthia16
cease to wane or to increase,
28We should subsist, ’twould not disturb our peace.
29But should we lose the influence of the sun,
30All into chaos instantly would run;
31So since our king’s above in glories crowned,
32Anarchical confusion doth surround
33This
fatal isle17
, and
devils here will dwell18
,
34As anciently, and turn this place to hell,
35Unless our God doth a second Charles
illustrate19
36(Which, O deny not) all our hopes are frustrate.
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Sarah C. E. Rossi

Editorial Note

My priority in editing these poems has been to modernise, and to achieve interpretative and visual clarity, in order to make the poems as accessible as possible to as wide a modern audience as is possible. Spelling is modernised, as is punctuation. Modernising the latter, in particular, often involves a significant act of editorial interpretation, but in my view this is one of the most productive areas of editorial intervention, particularly for a manuscript text such as Pulter’s where the punctuation is erratic compared to modern usage (and, indeed, compared to early modern printed texts).1

In this edition of Poem 8, stanza breaks and numberings have been created based on marginal numberings and horizontal lines (at the ends of lines 8, 16, and 24) in the manuscript text. Like the addition of “His Horrid Murder” to the title (see notes), the numbers are in a hand that is different from the main scribe’s, and may be Pulter’s own.

  • 1. See Alice Eardley, “‘I haue not time to point yr booke … which I desire you yourselfe to doe’: Editing the Form of Early Modern Manuscript Verse”, in The Work of Form: Poetics and Materiality in Early Modern Culture, ed. Ben Burton and Elizabeth Scott-Baumann (Oxford: Oxford University Press, 2014), pp. 162-178.
Macron symbol indicating the end of a poem.
  • Sarah C. E. Ross, Victoria University of Wellington
  • Unparalleled
    a common superlative in Pulter’s poems, most commonly applied to Charles I and his associates. See, for example, the poem immediately preceding this one, “On those Two Unparalleled Friends, Sir George Lisle and Sir Charles Lucas” (Poem 7).
  • His Horrid Murder
    these words have been added to the title in a hand that is different from the main scribe’s, and may be Pulter’s own (see Ross (2000), pp. 150-171 and 252-4).
  • Their place and splendency’s supplied by number
    I.e., the splendour of the stars and planets in the sky is created by their sheer number.
  • the line ecliptic
    its orbit (OED ecliptic B.n.1) or apparent orbit as viewed from the earth
  • epileptic
    in the manuscript, this is “epiliptic”, in a full rhyme with line 5
  • royal Charles did die
    Perhaps an allusion to the death of Christ, at which “the earth did quake, and the rocks rent” (Matthew 27:51). Pulter frequently uses the sun as a simultaneous figure for Charles (and his restoration) and Christ (and his resurrection).
  • Asoph
    a comet thought to be visible from earth every four hundred years
  • sad Electra
    In Greek mythology, Electra, grieving for the destruction of Troy (Ilium) and the death of her son, is transformed into a comet.
  • dissolved
    reduced to its elements, broken up (OED 1)
  • Caesar
    an epithet for Charles I, used by Pulter in many of her poems
  • oviparous brothers
    Castor and Pollux, twins in Greek mythology who hatched out of an egg (Pulter misuses “oviparous”, which means egg-laying). Zeus transformed them after their death into the constellation Gemini, used by navigators to find their way.
  • deplored
    lamented
  • them
    i.e. the navigators
  • spirit’s
    i.e. spirit is/has
  • poles or axes of the sky
    Axes are the (imaginary) lines around which planets rotate, and the poles are the ends of these axes (see OED pole n.2 1a).
  • Cynthia
    the moon
  • fatal isle
    England, condemned by fate
  • devils here will dwell
    Eardley (ed.),Lady Hester Pulter, suggests a reference to the race of rebellious giants thought to have populated the earth in ancient times, in Sandys, Metamorphoses, 1; and Ovid, Metamorphoses 1.151-160. See also Pulter’s “Mighty Nimrod” (Emblem 1), lines 11-17.
  • illustrate
    make illustrious, confer honour upon (OED v. 4)
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