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The Pulter Project
pulterproject.northwestern.edu
Poem 93

Vain Herostratus
(Emblem 28)

Edited by Leah Knight and Wendy Wall
Notoriety: this is the focus of Pulter’s emblem, which rehearses the story of men whose ambitious drive for fame led to their destruction. The imaginative geography of this emblem stretches across ancient Greece, Syria, Persia, Babylon, Jerusalem, Gallic Northern Europe, and contemporary Ireland, unearthing a vast array of examples of impiety and sacrilege. While the last part of the poem focuses on the just deserts that anti-heroes such as Cambyses, Belshazzar, and Brennus suffered, the poem begins with the more particular conundrum of how the drive for fame can twist into notoriety instead: the very desire to be commemorated morphs into the curse of not being forgotten as a villain. Pulter’s one mention of a woman seeking fame is, unusually, herself, offered as a counterexample to the powerful male rulers she mentions. Why is seeking “splendent fame” valid for a poet who hopes to embody the role of “Hadassah” (Queen Esther from the Bible, and Pulter’s chosen pseudonym for her authorship)? Maybe the poem belies a concern about authorial ambition: if choosing between notoriety and oblivion, she states, the choice is clear—she does not wish to join the ranks of the famed criminals whose legendary status the poem perpetuates. The limited circulation of Pulter’s poems, their relegation to oblivion for hundreds of years, and her emergence as a poet later in time makes her reflections on fame and oblivion especially meaningful.
Compare Editions
i
1Vain
Herostratus1
was so fond of fame,
2He set this sacred temple on a flame:
3That stately structure which was so renowned,
4And for the image of
Diana2
crowned,
5Which fell from
Jupiter3
, whom they implored—
6Whom
Ephesus4
and all the world adored.
7Thus some out of ambition, some for gain,
8Mingle together holy and profane.
9So cities,
fanes5
, and altars some have burned,
10And monarchies into
confusions6
turned.
11
My dear Hibernia7
made this story good
12
When crystal Shannon ran with Christian blood8
.
13
As no edict could make that villain die9
,
14
So these are odious to posterity10
.
15Then let me ever have a
splendent11
fame,
16Or let me lose
Hadassah12
, my loved name.
17Far better in oblivion live and die
18Than to survive with these in infamy.
19What got
Antiochus, then Epiphanes13
,
20More than
the epithet of Epimanes14
?
21Or what gained
Brennus after all his plunder15
,
22When he
and’s16
men
received their pay in thunder17
?
23Were they not sacrilegious villains both?
24Doth not posterity their names e’en loathe?
25What pleasure had
Belshazzar18
in his feast,
26Or what
his grandsire19
when he was a beast?
27One took the sacred utensils away;
28The other praised the gods of gold and clay;
29Nor would they be reformed of their error
30Till one was struck with madness, th’other terror.
31What got
Cambyses at horned Ammon’s hand20
32When fifty thousand men died in the sand?
33
What will they get that do our fanes profane21
?
34Sure shame and horror will be all their gain.
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
  • Herostratus
    A Greek arsonist who burnt Diana’s temple at Ephesus to ensure his immortal fame (his name is now a nickname for those who commit criminal acts to gain notoriety).
  • Diana
    in Roman mythology, the virgin huntress and goddess of chastity, whose image in the Ephesian temple was thought to be crafted by the gods. These lines echo Acts 19:35: “what man is there that knoweth not how that the city of the Ephesians is a worshipper of the great goddess Diana, and of the image which fell down from Jupiter?”
  • Jupiter
    king of the Roman gods
  • Ephesus
    ancient city on the west coast of Asia Minor (present-day Turkey)
  • fanes
    temples
  • confusions
    ruins; disorders, commotions; mixtures in which distinct elements are lost by mingling
  • My dear Hibernia
    Hibernia was the Latin name for Ireland, where Pulter was born
  • When crystal Shannon ran with Christian blood
    a reference to the Irish Rebellion of 1641, led by Irish Catholic gentry, whom some Protestants did not see as “Christian”; the River Shannon in Ireland was of major strategic importance in this and other military campaigns.
  • As no edict could make that villain die
    Pulter returns to her initial example of Herostratus; after he burned Diana’s temple, the ruler issued an order (an “edict”) banning mention of Herostratus’s name; the law was ultimately ineffective, as evidenced by this poem.
  • So these are odious to posterity
    “these” refers to the villains mentioned above who burned “cities, fanes, and altars” and turned monarchies to confusion; since no law can erase their infamy, they will be “odious” (repulsive) to future generations.
  • splendent
    shining from within, brilliant, magnificent, grand
  • Hadassah
    Pulter’s pseudonym, which she established through titles to the manuscript and in some poems; the name for the heroic Jewish Queen Esther in the bible (“Esther” being a variant of “Hester”)
  • Antiochus, then Epiphanes
    Antiochus IV, a Seleucid king of Syria (c. 215–163 BC), who gained the surname “Epiphanes,” or “Renowned.”
  • the epithet of Epimanes
    Antiochus Epiphanes’s attempt to conquer the Jews (plundering Jerusalem and its holy sites) was seen as capricious and resulted in a revival of Jewish nationalism and the Maccabean revolt; Jewish people then referred to him as “Epimanus”(meaning insane) rather than “Epiphanus” (meaning Renowned)
  • Brennus after all his plunder
    Brennus, chieftain of the Gauls (or Celts of Northern Europe), legendary not only for invading and destroying Rome but for plundering the religious sanctuary of Delphi in the fourth-century BCE.
  • and’s
    and his
  • received their pay in thunder
    The gods, according to legend, punished Brennus for his sacreligious plundering of temples by subjecting him and his men to thunder, lightning, and hail.
  • Belshazzar
    At a feast, the last king of Babylon (as the next lines describe) sacrilegiously praised the gods associated with vessels his father had plundered from Jerusalem’s temples; he then saw a mysterious hand write a legend of doom on a wall and was slain that night. See Daniel 5:1-13.
  • his grandsire
    Nebuchadnezzar (Belshazzar’s father, not his grandfather) went insane after plundering holy vessels from Jerusalem. See Daniel 4 and 5:21: “his heart was made like the beasts, and his dwelling was with the wild asses: they fed him with grass like oxen.”
  • Cambyses at horned Ammon’s hand
    Cambyses II, a king of Persia whose force of 50,000 was (as the next line indicates) buried in a sandstorm in Egypt after attacking the temple of the god Ammon’s oracle.
  • What will they get that do our fanes profane
    Since Pulter wrote as a Royalist in the midst and wake of England’s civil wars, this is likely a reference to the opposing Parliamentarian and Puritan forces damaging (and thus “profan[ing]” or desecrating) churches.
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