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The Pulter Project
pulterproject.northwestern.edu
Poem 74

The Turtle
(Emblem 8)

Edited by Millie Godfery and Sarah C. E. Ross

In this emblem, Pulter turns her attention to earthly pleasures and the immorality of indulgence in them. She begins with the turtle as an emblem, describing the enjoyment the creature takes in running and swimming on the earth, which illustrates her “ignoble” nature. The turtle dislikes being inverted “to the skies”, which Pulter construes as an unwillingness to face God (line 5). She proceeds to highlight instances of such unwillingness in the human world, criticising the “gallants”, “wanton[s]”, and “ranters” who choose to overindulge in base, earthly things like money, drink, and unchaste love rather than devote themselves to God (lines 12, 16, 20). For related emblems, see The Elephant (Emblem 19)84 and This Poor Turtle Dove (Emblem 20)85, which use similar language to criticise overindulgence and folly. Pulter exposes these people who disobey God’s wishes, criticising intemperate behaviour for its ungratefulness.

Key to unveiling this message is a subtle but striking use of form. While the emblem is, for the most part, in Pulter’s typical rhyming couplets, she uses two tercets at lines 5-7 and 24-6 to encapsulate her message: that “wantons”, like the turtle, indulge excessively in the pleasures of the world. These two tercets not only summarise the fate of the turtle and “rant[ing]” humans respectively, but link them together, as Pulter interrupts the overall rhyme scheme of the poem in each case. The repetition of the words “lie” and “die” across the two tercets further affirms the connection and emphasises the moral Pulter wishes to impart: that the pleasures of the world are vain, and those who overindulge in worldly things die in despair.

Notably, the emblem’s moral message acquires political connotations: both Eardley and Christian point out that “ranter” was a derogatory term given to religious and political radicals, including those in the Antinomian sect arising in England around the time Pulter was composing her emblem collection (Alice Eardley, “An Edition of Lady Hester Pulter’s Book of ‘Emblemes’.” PhD diss. [University of Warwick, 2008], 29 n. 20; and Stefan Christian, “The Poems of Lady Hester Pulter (1605?–1678): An Annotated Edition.” PhD diss. [University of Massachusetts Amherst, 2012], 289). As she does in many of her emblems, Pulter embeds her criticism of the social and political upheaval caused by the republican government in the wider religious instruction directed at her readers. The images of these indulgent ranters, gallants, and wantons remind us that in giving way to impulsive desires, we forget God and the service we owe Him while on earth. Using the two tercets to emphasise these consequences, she then begins her explicit address in the final four lines of the poem, as she implores: “hear a friend that tells you but the truth”, indicating the authorial role she possesses as she mediates the devotional message of servitude to God (line 32). Drawing on Ecclesiastes 12.1, Pulter urges her readers to “Remember thy creator in thy youth”, instructing against the careless indulgences she presents earlier and warning that otherwise “Hell will have its due” (lines 28, 30). Instead, she offers her expostulation: be God’s humble and devoted servant on earth and be safe from the earthly distractions which incur judgement.

Compare Editions
i
1How fast this creature runs upon the earth;
2Her loving it shows her
ignoble1
birth.
3How swift she swims within the
tamed2
seas;
4Let her but grovelling be, she is in
peace3
.
5But do but
turn this turtle to the skies4
;
6
She sighs and sobs and discontented lies,5
7And in this passion bathed in tears she dies.
8So let a miser fear the loss
of’s6
gold;
9
His heart, like Nabal’s, instantly is cold.7
10Tell him that Death is come to take his due;
11He’ll call for int’rest or your bonds renew.
12
Bid gallants leave their dames, their drink, their dice;8
13Not they (they’ll swear) for
present paradise9
.
14Tell them (in love) they’re at the
abyss’s brink10
;
15They’ll
yawl and bawl11
for
wenches12
or more drink.
16Bid a
light13
lady leave her wanton love;
17Not she, she vows, for all the
joys above14
.
18Tell her, ere long,
her paint won’t hide her clay15
;
19What doth she care, she’ll do it while she may.
20Put but these
ranters16
where they cannot roar,
21They lie like fish on the forsaken shore;
22Or curb these gallants of their vain desire,
23They’re like
pyraustas17
kept out of the fire;
24Or take these wantons from their vanity,
25These like
this simple creature18
blubb'ring lie,
26And in despair most commonly they die.
27
Then hear a friend19
that tells you but the truth:
28
Remember thy Creator in thy youth,20
29And leave those follies ere they do leave you,
30Or else expect that Hell will have its due.
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
  • ignoble
    base, especially when comparing animals and humans (OED 1b and 2).
  • tamed
    Eardley proposes this as a scribal error actually meaning “tumid”, defining the swollen seas. Both our edition and the Elemental Edition retain it as it appears in the manuscript, however, as “tamed” evokes a fitting image of the turtle indulgently swimming in calm seas.
  • peace
    manuscript= Peas
  • turn this turtle to the skies
    Pulter criticizes the turtle’s unhappiness at being turned upwards, suggesting that this is a refusal to look to the heavens: see Headnote.
  • She sighs and sobs and discontented lies,
    This line is inserted into the space between lines 5 and 7, possibly at a later date, as the inserted line overlaps and is written in smaller handwriting likely to be Pulter’s own. It is an important addition, given that it has the effect of creating a tercet, which marks the end of the description of the poem's opening image, the turtle. The tercet encapsulates the moralistic description of what happens if the turtle is inverted, the central moral of the poem, to which Pulter returns, in another tercet, at lines 24-6.
  • of’s
    of his
  • His heart, like Nabal’s, instantly is cold.
    In the Bible, Nabal is a parsimonious farmer and landowner who lives in the city of Maon. When David, who is later the King of Israel and Judah, sends men down to pay their respects to Nabal, his “surly and mean” qualities are revealed as he rejects the greetings extended to him. David retaliates, preparing four hundred men to attack; however, Nabal’s wife Abigail appeases his anger by offering him a bounty of gifts. When Abigail later tells Nabal of the peace she has made, his heart turns to “stone” at the gifts she has given and he has a heart attack, a punishment by God for his ungenerous nature; see 1 Sam 25:3-38.
  • Bid gallants leave their dames, their drink, their dice;
    Pulter uses the word “gallant” in a derogatory sense, referring to vain men who are merely concerned with appearance, indulgence, and courting women (OED b1, 3). Stefan Christian suggests that she may also use the word in reference to “failed Royalists, the so-called Cavaliers, whose military failure Pulter might well have connected to their moral failures” (“The Poems of Lady Hester Pulter (1605?–1678): An Annotated Edition.” PhD diss., University of Massachusetts Amherst, 2012. 289). Pulter uses similar language in “The Elephant” (Emblem 19)84, esp. lines 16, 36-9; and “This Poor Turtle Dove” (Emblem 20)85, esp. lines 23-4, emblems which are also concerned with irreligious behaviour.
  • present paradise
    Pulter criticises those who won’t give up their irreligious behaviours based on the instant gratification – “present paradise” – they receive from them (line 13). Our place on earth, she indicates, should be dedicated to God, who will then reward the diligent with a space in heaven, the true place of paradise.
  • abyss’s brink
    the edge of the great deep or bottomless gulf believed in old cosmogonies to lie beneath the earth; the infernal pit, the abode of the dead, hell (OED 1c). In the Bible, the earth, prior to its creation by God, is described as “without form, and void, and darkness upon the face of the deep” (Gen 1:1-3).
  • yawl and bawl
    manuscript= Yaul and Baul. “yawl” meaning to shout, yell (OED)
  • wenches
    wanton women; mistresses (OED 2)
  • light
    wanton, unchaste; frivolous, unthinking (OED 14)
  • joys above
    heaven
  • her paint won’t hide her clay
    Anti-cosmetic discourses gained traction in the sixteenth century, arguing that the art of painting a face was a blasphemous usurpation of God’s power (Farah Karim-Cooper. “‘This Alters Not Thy Beauty’: Face-Paint, Gender, and Race in The English Moor.” Early Theatre, vol. 10, no. 2, 2014, pp. 140-1). See, for example, Shakespeare’s Sonnet 127, in which cosmetics are “Fairing the foul with Art’s false borrowed face” (line 6).
  • ranters
    noisy, riotous, dissolute people (OED 3). Pulter employs this appellation frequently in criticisms of worldly indulgence; see This Poor Turtle Dove (Emblem 20)85 line 23, which criticizes husbands who “rant it high and game”, and The Elephant (Emblem 19)84 line 36, for the speaker’s reproach towards those who “drink, rant, throw the die”. Also see the Headnote for a discussion of the political meaning of the word “ranter”.
  • pyraustas
    a mythical creature from Cyprus, described by Pliny as “a kind of four-footed creature, and yet winged (as big as the greater kind of flies)” which “so long as it remaines in the fire” lives (The Historie of the World: Commonly Called, the Naturall Historie of C. Plinius Secundus. Trans. Philemon Holland. Vol. 1 [1635], 330). Pulter’s simile in this line compares “gallants” without “their vain desire” to these mythical creatures, who, without fire, literally perish; both, she observes, thrive off that which is typically destructive (line 22, 23).
  • this simple creature
    the turtle
  • Then hear a friend
    The emblem reaffirms the didactic message that is revealed in the tercets of lines 5-7 and 24-6: that our job is to serve God and avoid being distracted with temporary indulgences. In this direct address, Pulter assumes the role of a “friend” who is offering a moral exegesis as directed by God. For a discussion of Pulter’s poetic address to her “friends”, see Sarah Ross’s Women, Poetry, and Politics in Seventeenth-Century Britain [Oxford: Oxford University Press, 2015], 169-173.
  • Remember thy Creator in thy youth,
    Pulter almost directly quotes Ecclesiastes 12.1 here: “Remember now thy Creator in the days of thy youth, while the evil days come not, nor the years draw nigh, when thou shalt say, I have no pleasure in them”. She concludes her emblem by reminding readers always to pay God his due respects during youth, as the body and mind is, at this age, most able to serve God.
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