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The Pulter Project
pulterproject.northwestern.edu
Poem 92

The Stately Moose
(Emblem 27)

Edited by Leah Knight and Wendy Wall
This poem’s picturesque opening scene—a hill above a river valley, a moose munching quietly, her young skipping and playing—is darkly savaged when the moose is so foolish as to forego high ground and the light of day, out of envy of those in the shade beneath. The imagery is simultaneously naturalistic and moral, and the moose’s comeuppance speedy and grotesque: in the dark forest, she is “snatched,” “overpowered,” and “devoured” by a snake (again, uniting the naturalistic and the moral). The speaker then links this vivid image of a moose-stuffed serpent to more ordinary kinds of predation and, finally, a sequence of fairly banal complaints: “on this orb there’s no felicity”; “we are in a sea of sorrows tossed”; “when we’re most secure, we’re nearest lost.” In the face of such relentless carnage and misery throughout the animal kingdom, it’s no surprise that the speaker’s final declaration of fealty is to God instead.
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i
1The stately moose, being mounted up the hill,
2And of the beauteous prospect taken her fill,
3Viewing the rivers in the
vale1
that
trace2
,
4Enriching
Flora’s3
robe like silver lace;
5The next thing she considers is her diet:
6How she may eat the flowers and herbs in quiet.
7Then
politicly4
she doth the fields survey
8To see if any cruel beasts of prey–
9As lion, tiger, leopard, or bear–
10Might her disturb; but to dispel all fear,
11Fawns, lambs, and kids did skip about and play
12Whilst their old weary dams, their
sentinels5
, lay.
13Thus, being secure, she feeding down did go,
14For Nature placed her stag-like horns so low
15That she could never have of grass her fill.
16But when, in feeding, she went down the hill
17Which lay full south, the sun being
now6
her zenith,
18Which made her envy those that fed
beneath7
,
19His perpendicular beams did scald her so,
20That she resolved into the shade to go
21Of straight-armed cedars, firs, cypress, pine,
22About whose branches horrid serpents twine.
23One of the hugest slipped down from a bough
24And snatched the moose (poor beast!) she knew not how.
25Thus being by this monster overpowered
26(O her hard fate!), she was by him devoured.
27So have I seen a hawk a pheasant
truss8
28(Or partridges), so
melancholy puss9
29Doth mice
surprise10
, so foxes snatch up lambs
30As they lie playing by their
uberous11
dams–
31By which example we may plainly see
32That on this orb there’s no felicity.
33For Death and Hell combine and watch, each hour
34Our sinful souls and bodies to devour;
35For we are in a sea of sorrows tossed,
36And when we’re most secure, we’re nearest lost.
37As
Beauclerc’s children12
did their wrack
deplore13
38With greater grief being in the sight of shore.
39Then seeing our lives so frail and
casual14
be,
40Let me depend (dear God) on none but Thee.
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
  • vale
    valley
  • trace
    pass
  • Flora’s
    goddess of spring
  • politicly
    shrewdly
  • sentinels
    guards
  • now
    now at
  • beneath
    beneath the shade
  • truss
    seize
  • melancholy puss
    Cats were proverbially associated with sadness.
  • surprise
    attack suddenly
  • uberous
    nursing, nurturing
  • Beauclerc’s children
    The children of King Henry I (Henry Beauclerc), including his heir and many illegitimate children, drowned when their ship hit a rock near the shore of Normandy.
  • deplore
    lament
  • casual
    subject to chance
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