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The Pulter Project
pulterproject.northwestern.edu
Poem 41

The Invocation of the
Elements1

Edited by Leah Knight and Wendy Wall
Inscribed beneath the title of this poem is not just a year, as in several other Pulter poems, but a precise indication of the date of composition: the winter solstice, the darkest day of any year. Pulter’s general preoccupation with astronomical observation is thus reflected here, as is her larger concern with—and, often, morbid fixation on—the darkness of the night sky and her corresponding emotional state. This night, though, the speaker invites guests to a wonderful feast: darkness seems, at first, at bay. But we soon realize that the main course she plans to serve is her own body, carved into its constitutive elements of water, air, fire and earth. Those elements are also, paradoxically, her invitees, along with her soul, whose impatience to die motivates the occasion and the poem. Like any good host, the speaker serves up pleasing dishes and chatty flattery at the same time, in a sequence of dramatic monologues implied in her instructions to “ask no more” and “say no more” formulations (echoing Poems 11 and 13). While initially cordial, the speaker’s table-talk at times edges toward indecorous demands to be liquified, vaporized, chilled, and consumed into the earth, increasingly signalling the urgency with which she seeks her death; her sadness at that of her “lovely children”—seven, horribly, by this date—rationalizes her insistence on returning to her own “mother,” the Earth addressed here.
Compare Editions
i
1
Have patience, my afflicted soul:
2
Thou shalt not long in darkness
roll2
.
3
I will the elements implore;
4
Then shall I need to beg no more
5
To come unto my last, best feast:
Water
6
The
limpid3
lady’s my first guest;
7
Cool crystal Water, take
thy part4
:
8
First, that which circles my sad heart;
9
Or, if my tears will satisfy,
10
To tears I’ll quickly
rarefy5
.
11
Number them not; count sand or star—
12
You’ll sooner number them by far.
13
O, that they had been shed for sin,
14
Then they in Heaven had bottled been!
15
Why were they shed? O, ask not why;
16
If I repeat my woes, I die
17
A double death; O, ask no more;
18
Let me alone my loss deplore.
19
Fair nymph,
thou’st6
oft quenched thirst in me:
20
Retaliate and drink up me!
21
Seven lovely buds thou hast drawn dry:7
22
O, spare the rest, or else I die
23
A treble death. O hear me speak!
24
Let not my heart so often break,
25
But let Death strike me once for all;
26
A little blow will make me fall.
27
Thou didst a whole world once involve;8
28
Then let me into thee dissolve!
Air
29
Sweet Air, refresher of mankind,
30
Let me at last thy
flavor9
find:
31
Do but
exhaust10
a little vapor,
32
Thou’lt11
quickly blow out my life’s taper.
33
’Twill be my last request to thee;
34
Thou’rt free to all–be so to me!
35
I oft have made thee such a feast
36
That all the odors of the east
37
Could not with their sweet breath compare,
38
Blossoms so lovely, young, and rare:
39
The woodbine,
ere12
Aurora13
doth arise,
40
The
gillyflower14
before the shadow flies,
41
The dewy violet, or the
half-blown15
rose.
42
O say no more! My grief o’erflows;
43
I into tears am
rarefied16
,
44
And thou thy part will be denied.17
45
O take this sigh, then, for thy part,
46
For such another breaks my heart.
Fire
47
Most noble and illustrious fire,
48
Whom (though I know not) I admire:
49
If such an element there be,
50
My strange petition is to thee.
51
O hearken to my last desire
52
And help my sad soul to expire!
53
Contract thy vigor, hold thy heat:
54
Then will my heart forget to beat
55
And
trepidate18
within my breast.
56
O, then, how sweet will be my rest;
57
What a sweet slumber shall I take
58
When my sad dreams do me forsake
59
And cease my afflicted soul t’affright!
60
Welcome, O welcome, that blessed night.
61
Then do but my short breath
exhale19
,
62
My structure straight to
dust20
will fall.
63
Welcome, O welcome, that blessed night,
64
Which ushers in eternal light!
65
For what is death but cold and night,
66
Life being only heat and light?
67
Then all my heat to thee I’ll give,
68
And though I die, in thee I live.
Dust, or Earth
69
Dear Dust, from thee I drew my birth:
70
Then come, and ’tis but
earth to earth21
.
71
My lovely children thou hast taken:
72
Shall their sad mother be forsaken?
73
Ay me, thou took’st them young and fair,
74
And leav’st me here with
hoary22
hair.
75
They lovely fair, with snowy skin,
76
Did too, too soon thy favor win.
77
But I, involved with sin and sorrow,
78
Sadly expect thee night and morrow.
79
I ask no pyramid nor stately tomb:
80
Do but
involve23
me in thy spacious womb.
81
To beg this once, dear mother, give me leave:
82
O let thy
bowels24
yearn, and me receive.
Macron symbol indicating the end of a poem.

Elemental Edition,

edited by Leah Knight and Wendy Walli

Editorial Note

The aim of the elemental edition is to make the poems accessible to the largest variety of readers, which involves modernizing spelling and punctuation as well as adding basic glosses. Spelling and punctuation reflect current standard American usage; punctuation highlights syntax which might otherwise be obscure. Outmoded but still familiar word forms (“thou,” “‘tis,” “hold’st”) are not modernized, and we do not modernize grammar when the sense remains legible.

After a brief headnote aimed at offering a “way in” to the poem’s unique qualities and connections with other verse by Pulter or her contemporaries, the edition features a minimum of notes and interpretative framing to allow more immediate engagement with the poem. Glosses clarify synonyms or showcase various possible meanings in Pulter’s time. Other notes identify named people and places or clarify obscure material. We rely (without citation) primarily on the Oxford English Dictionary (OED), the Oxford Reference database, and the King James Version (KJV) of the Bible. When we rely on Alice Eardley’s edition of Pulter’s work, we cite her text generally (“Eardley”); other sources are cited in full. The result is an edition we consider a springboard for further work on Pulter’s poetry.

See the full conventions for the elemental edition here.

Macron symbol indicating the end of a poem.
  • Leah Knight, Brock University
  • Wendy Wall, Northwestern University
  • Elements
    fundamental components of the physical world; in ancient philosophy, as in this poem, earth, fire, water, and air
  • roll
    revolve; proceed; wander; be enveloped
  • limpid
    transparent
  • thy part
    This refers to water’s serving of the speaker’s “feast,” which is a figure for her body.
  • rarefy
    dissipate
  • thou’st
    thou hast
  • Seven lovely buds thou hast drawn dry:
    The “buds” stand for seven of Pulter’s children who died.
  • Thou didst a whole world once involve;
    allusion to the biblical flood; see Genesis 7.
  • flavor
    possibly figurative, as in the “fragrance” of renown; esteem, reputation; or, as in “savor,” delight, or pleasing quality
  • exhaust
    drain; suck up
  • Thou’lt
    Thou wilt
  • ere
    before
  • Aurora
    goddess of dawn
  • gillyflower
    carnation
  • half-blown
    half-blossomed
  • rarefied
    dissipated
  • And thou thy part will be denied.
    The speaker implies she will dissolve wholly into watery tears, and thus deny Air any “part” in the feast of her body.
  • trepidate
    tremble
  • exhale
    draw up
  • dust
    finely disintegrated matter, or original formative physical materials; for the latter, see Genesis 2:7: “And the Lord God formed man [of] the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.”
  • earth to earth
    a common period phrase alluding to the body’s disintegration at death; see the Book of Common Prayer burial service (London, 1549), Ee 4v: “earth to earth, ashes to ashes, dust to dust.”
  • hoary
    grey or white
  • involve
    envelop
  • bowels
    intestines or the heart or core; also pity, compassion
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