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The Pulter Project
pulterproject.northwestern.edu
Poem 77

The Dubious Raven
(Emblem 11)

Edited by Millie Godfery and Sarah C. E. Ross

In Emblem 11, Pulter fuses natural history with biblical citation to reinforce her readers’ trust in God. She draws on Pliny’s description of the raven in his Natural History, reintroducing the theme of parental love that we see in other emblems, such as “The Manucodiats” (Emblem 5)71 and The Indian Moose (Emblem 7)73. Regarding the raven’s parental attitude as one of neglect and abandonment, Pulter disavows this behaviour. Her analogous treatment of another one of Pliny’s birds, the eagle, which appears in “The Indian Moose”, offers another instance of parental neglect.

The focus of Pulter’s attention in this emblem, however, is less on those who are neglectful parents than it is on those who are neglected. The “callow” ravens are left defenceless in their young age, and God becomes their surrogate parent, taking care of them despite the cultural stigma surrounding these carrion-eating birds (line 2). Pulter poses the question: if God can respond so generously to the needs of ravens, “Why should His children then so faint and fear?” (line 6). She could be offering this as a consolation to herself, or to her own children, assuring them that trust in God will protect them even when “thy father and thy mother be / In no capacity to comfort thee” (lines 15-6). Her message is one of faith, emphasising that no matter how dire the circumstances, “sorrow” and “fear” are wasted given that God’s love is the ultimate provision (line 17). In the final couplet, Pulter directs the emblematic message most clearly at herself, countering her own “despair” with the reassurance that, if she has patience, God will respond (line 20). Here, Pulter herself is the young raven in the face of neglect.

In establishing the raven as this emblem’s central image, Pulter draws on multiple depictions of the bird to justify her didactic portrayal of God as a carer for those without parents. Notes in the left-hand margin are keyed to specific words in the poem with a set of markers running “a” to “d”, explicitly indicating Pulter’s sources. These sources, which we detail in the line notes to the poem, include the biblical books of Psalms, Job, and Luke, Robert Sanderson’s Twenty Sermons Formerly Preached, and Pliny’s Natural History. The source notes are in the scribe’s hand, and so form part of the original poem’s presentation in Pulter’s manuscript; however, we have chosen to treat them as marginal notes, rather than an integral part of the poem. This contrasts with the marginal material that accompanies our edition of Come, My Dear Children68, which we have treated as essential to the main text. Pulter’s use of marginal annotations here in Emblem 11 could be compared to Lucy Hutchinson’s practice of including scriptural references in the margins of her biblical poem Order and Disorder: see Elizabeth Scott-Baumann, “Lucy Hutchinson, the Bible and Order and Disorder” (The Intellectual Culture of Puritan Women 1558-1680 [London: Palgrave Macmillan, 2011], pp. 176-89).

Compare Editions
i
1The
dubious1
raven2
doth her young forsake
2Whilst
callow3
; she no care of them will take
3Till she perceives their plumes of
sable hue4
,
4They being nourished with
celestial dew5
.
5If God the voice of
volatiles6
doth hear,
6Why should His children then so faint and fear?
7’Twas He that these
hard-hearted birds7
did make
8Of His
Elijah8
constant care to take;
9When he involved was in want and sorrow,
10They brought him bread and
flesh9
both eve and morrow.
11Thus
God’s affections altereth every hour10
12To show to us His infinite love and power.
13Then as thy friends and near relations die
14To Him alone (to Him) for comfort fly;
15For though thy father and thy mother be
16In no capacity to comfort thee,
17And though successive sorrows and new fears
18Makes thee His
altar11
cover o’er with tears,
19Nay, though thy only love doth thee forsake,
20Yet He will then thee to His mercy take.
21Despair not then, my soul, but patient be,
22For He that hears young ravens will hear thee.
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Millie Godfery and Sarah C. E. Rossi

Editorial Note

Our 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 our 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 All biblical references are to the King James Version (1612).
  • 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.
  • Millie Godfery
  • Sarah C. E. Ross, Victoria University of Wellington
  • dubious
    Pulter uses the figure of the raven and its changeable attitude towards its young to support her description of God’s aid to those parentless. Hence, dubious here means wavering or fluctuating in opinion (OED 2); and also of questionable character (OED 1d).
  • raven
    A marker “a” above this word links to a marginal note in the scribal hand, listing Pulter’s sources for her construction of this image as “Psalm 147. v.9, Job 38:41, Luke 12:24, See Doctor Sanderson out of Aristotle his 6 Hist. Anui 6 and Pliny, Natural Hist. 10: 12”. Psalm 147.9 is: “He giveth to the beast his food: and to the young ravens which cry”. Job 38.41 is: “Who provideth for the raven his food? when his young ones cry unto God, they wander for lack of meat”. Luke 12.24 is: “Consider the raven, for they neither sow nor reap, which neither have storehouse nor barn, and God feedeth them: how much more are ye better than the fowls”. The Robert Sanderson note refers to a 1647 sermon preached at Woburn, where he states “He [God] feedeth the young ravens that call upon him”, noting that “ravens are observed soonest to forsake their yong ones”. He adds that, “whether the observation hold or no, it serveth to [his] purpose … for it God so sufficiently provide for the yong ravens, when the dams forsake them: will he not much more take care of us, when not our Fathers and Mothers forsake us” (Twenty Sermons Formerly Preached [1656], 828). Both Pliny and Aristotle provide accounts indicative of this representation. Pliny describes “unluckie” ravens who, upon perceiving “their young … [as] strong, chase and drive them away farre off”, while Aristotle describes the raven “eject[ing]” its chicks from the nest (Pliny, The Historie of the World: Commonly Called, the Naturall Historie of C. Plinius Secundus. Trans. Philemon Holland. Vol. 1 [1635], 276; Aristotle, Historia Animalium, trans. A. L. Peck [London: William Heinemann, 1970], 6.6).
  • callow
    of a young bird; without feathers, unfledged (OED 3a). Our punctuation of lines 1-2 differs from the Elemental Edition and Eardley, emphasising that “callow” applies to the “young” of line one, rather than the maternal “she” of line 2. The lines are unpunctuated in the manuscript.
  • sable hue
    black; of a dark colour
  • celestial dew
    pertaining to heaven as the abode of God (OED 2a); heavenly dew. Pulter suggests that it is God’s nourishment that provides the young ravens with the sustenance to grow. In the Bible, Elijah, whom Pulter references in line 8, condemns Ahab and Jezebel’s mutiny against God when he prophesizes that “there shall not be deaw nor raine these yeres”, possibly informing her use of the word “dew” as a provision by God given only to those deserving of it (KJV 1 Kings 17:1; see note for line 8). For another biblical representation of dew as a heavenly substance used by God as a signal to Prophet Gideon, see Judges 6:36-40.
  • volatiles
    birds, or winged creatures in general (OED 1, 2)
  • hard-hearted birds
    Alliteration here creates a hard sound to draw attention to the callous nature of the raven; this highlights the power of God to turn even the most uncaring birds into devoted servants.
  • Elijah
    A marker “b” above “Elijah” links to a marginal notation: “1st of Kings, chap. 17. V. 4”. 1 Kings 17.4 is: “And it shall bee, that thou shalt drinke of the brooke, and I have commanded the ravens to feed thee there”. In the Bible, Elijah prophesizes that the Kingdom of Israel, led by Ahab and his wife Jezebel, will suffer a drought where no “dew nor rain” shall fall, as a punishment for their idolatry and disloyalty to Yahweh. To protect Elijah from their retaliation, God orders him to hide “by the brooke Cherith” where he promises to send ravens with food to him (1 Kings 17:3-4).
  • flesh
    Ravens are known as flesh eating birds who feed on carrion.
  • God’s affections altereth every hour
    Pulter contrasts the ravens’ “constant care” of Elijah, feeding him during the drought, with God’s apparently fluctuating affections, which she construes as a positive virtue. Divine inconstancy is a providential display of God’s superior love and power.
  • altar
    A marker “d” above “altar” links to a marginal notation: “Malachi chap. 2. V. 13”. Malachi 2.13 is: “And this have ye done again, covering the altar of the Lord with tears, with weeping, and with crying out, insomuch that he regardeth not the offering any more, or receiveth it with good will at your hand”. This specific verse reiterates God’s disapproval of excessive displays of remorse and supplication, especially when these only occur after being punished. Pulter allusion here suggests that even when loved ones die, God will be there to provide the guidance and love one feels they have lost, hence excessive sadness is not necessary. Contextually, the book of Malachi is the final book in the Old Testament, and it serves as a prophecy for the coming of Christ in the New Testament, suggesting that those who are good must persevere until he comes (Eardley, “An Edition of Lady Hester Pulter’s Book of ‘Emblemes’”. PhD diss., University of Warwick [2008], 35). Thus, Pulter utilizes this to provide her own didactic message of respite: regardless of the bad that happens, God will give refuge to those in need.
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