Universal Dissolution

Sources

Poem 6

Original Source

Hester Pulter, Poems breathed forth by the nobel Hadassas, University of Leeds Library, Brotherton Collection, MS Lt q 32

Versions

Facsimile of manuscript: Photographs provided by University of Leeds, Brotherton Collection
Transcription of manuscript: By Leah Knight and Wendy Wall.
Elemental edition: By Leah Knight and Wendy Wall.
Amplified edition: By Sarah C. E. Ross.

How to cite these versions

Conventions for these editions

The Pulter Project: Poet in the Making

Created by Leah Knight and Wendy Wall
Encoded by Katherine Poland, Matthew Taylor, Elizabeth Chou, and Emily Andrey, Northwestern University
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IT project consultation by Josh Honn, Northwestern University
Project sponsored by Northwestern University, Brock University, and University of Leeds

Poem Index

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Notes: Transcription

Title note

  Physical note 

blotted with especially large blot on “John”; blot darker on facing page

  Editorial note 

In these transcriptions we preserve as many details of the original material, textual, and graphic properties of Hester Pulter’s manuscript verse as we have found practical. Whenever possible, for instance, original spelling, punctuation, capitalization, lineation, insertions, deletions, alterations, spacing between words and lines, and indentation are all maintained; abbreviations and brevigraphs are not expanded; and superscript and subscript representations are retained. See full conventions for the transcriptions here.

Line number 7

  Physical note 

or “Aquœducts”

Line number 12

  Physical note 

insertion written in hand H2.

Line number 20

  Physical note 

in original “virginall”, descender of “g” struck through and ascender added to make “d”, with “all” covered by “L” in “Leaves; main scribe thus changed “virginall” to “virdent” or “virdent” by inserting “t” into space before “all”; “virgin” inserted in different hand from main scribe, with either looping insertion symbol or conversion of second “i” in “virginall” to “e”

Line number 20

  Physical note 

directly below “fieldemort” and “Fillimott” above its second half, both in different hand from main scribe

Line number 21

  Physical note 

“a” appears added later

Line number 22

  Physical note 

in left margin, in hand H2: “X tho ſhe the liveing / kill and Dead preſrve / yett can she not / from death herſelfe reſerve”; horizontal line beneath, then: “The ſypriſs that / doth mourn for / us in vaine / ſhall bee cut down /and nevar ſprowt /againe.”

Line number 31

  Physical note 

“x” appears keyed to marginal note (see note 7)

Line number 45

  Physical note 

Final “e” imperfectly erased.

Line number 63

  Physical note 

corrected over “poiſoning”

Line number 63

  Physical note 

“k” written over earlier letter (possibly “ſ”), imperfectly erased with descender visible.

Line number 81

  Physical note 

end of word unclear, with apparently later addition of what looks like “a”, possibly part of malformed “n”

Line number 87

  Physical note 

“e” or “ev,” scribbled out

Line number 123

  Physical note 

“our” appears above “o:r” (which has superscript “r”); insertions appear to be in two hands, each different from main scribe

Line number 131

  Physical note 

strike-through of complete word, starting “A” and ending “ſed”

Line number 131

  Physical note 

written in hand H2

Line number 138

  Physical note 

“w” possibly corrected to “t” in different hand from main scribe

Line number 143

  Physical note 

imperfectly blotted “e” afterward

Line number 147

  Physical note 

“ni” overwrites an unknown letter

Line number 147

  Physical note 

appears crowded between surrounding words

Line number 152

  Physical note 

“A” overwrites “ſt”

Line number 162

  Physical note 

initial “a” scribbled out; “g” written over with “ſ”; “h” writes over another “a”, correcting “againe” to “ſhine”

Line number 173

  Physical note 

corrected from “bee”

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Transcription

Universall diſſolution made when I was with Child of my 15th Child

Physical Note

blotted with especially large blot on “John”; blot darker on facing page

my ſonne John I being every one thought in a Conſumption 1648

Gloss Note

entire, total, or global “dissolution,” meaning separation into constituent elements or atoms; disintegration, decomposition; liquefaction; laxity of morals; dispersion of an assembly (often political); death, termination.

Universal Dissolution, Made When I Was with Child, of my 15th Child,

Critical Note

This is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

my Son, John, I Being, Everyone Thought, in a

Critical Note

disease associated with an abnormality of “humors” (in the physiology of the day, the four fluids determining health), resulting in extreme weight loss; later identified with tuberculosis; the act of decaying

Consumption, 1648

Universal

Gloss Note

reduction to elements or atoms; disintegration; death

Dissolution, Made When I Was With Child of

Critical Note

John Pulter (1648-77) was the fifteenth (and likely last) of Pulter’s children. "My Son John" is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

My 15th Child (My Son John), I Being, Everyone Thought, in a Consumption, 1648

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 full conventions for this edition here.

— Leah Knight and Wendy Wall

My 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 my 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).

Critical Note

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.

— Leah Knight and Wendy Wall

In this devotional poem, the speaker instructs her soul not to lament mortality, but to accept the eventual decay and dissolution of everything: nature, poetic fame, political power, youth, beauty, animals, civilizations, the earth, planets, and stars. In detailing how all natural and cosmological elements in the world will revert back to their “first principles” or original “cause” in the grand cycle of life, the poem provides an extensive catalogue of specific trees, plants, animals, mythological characters, ancient cities, constellations, and planets. As the title suggests, this self-reprimand—or, perhaps, self-consolation—is prompted by an illness connected with the speaker’s fifteenth pregnancy, and it does not conclude, as do many of her poems, with an affirmation of the afterlife. It seems instead focussed on the scope and scale of the unmaking of the physical world.

— Leah Knight and Wendy Wall

Pulter’s detailed title to this occasional poem indicates its context and focus. Seriously ill during her pregnancy with her fifteenth child, her son John, she addresses her own soul, fearful at the possibility of death, and reassures it by outlining the universality of “dissolution”, the death of the mortal body. Her poem progresses through an extended series of similes, comparing the end of “mortal man” to that of all other creatures and elemental things; these similes owe much to the emblematic mode of thinking that is evident in the emblem poem series later in the manuscript. For another poem written in illness during this pregnancy, see This Was Written in 1648, When I Lay in, with my Son John [Poem 45]; and see discussion in Alice Eardley (ed.), Lady Hester Pulter: Poems, Emblems, and The Unfortunate Florinda (Toronto: Iter Inc. and Centre for Reformation and Restoration Studies, 2014), p. 16.

Like many of Pulter’s poems, “Universal Dissolution” is related to the mode of devotional complaint, in which the distressed, earthbound soul articulates its worldly grief and its yearning to be with God. Pulter’s manuscript contains several devotional complaints, such as Must I Thus Ever Interdicted Be [Poem 55]. “Universal Dissolution,” however, is typical of many of Pulter’s other devotional poems in that it is not a complaint per se, but is cast as a response to the implicitly prior plaints of her own heart and soul. Thus the poem opens “My soul, why art thou sad ...?” The poem outlines a philosophical consolation for her heart and soul, illustrating through multiple examples that “all sublunary things decay” (line 108), and concluding “Then my unsettled soul be more resolved, / Seeing all this universe must be dissolved.” This stance exemplifies the devotional stoicism typical of Pulter’s poems, even as they articulate significant physical, personal, and political hardships and melancholy.

This poem contains a number of amendments in three of the main hands present in the manuscript: the scribal hand, the hand likely to be Pulter’s own, and the “antiquarian hand” (see Ross (2000), pp. 150-171 and 252-4). For this reason, the poem makes an excellent case study in the editing processes evident in the manuscript. Only substantive amendments and editorial choices are outlined in the notes below.

— Leah Knight and Wendy Wall

My Soule why art thou ſad at the decay

My soul, why art thou sad at the decay

Of this fraile frame this feeble houſe of clay

Of this frail

Gloss Note

here, structure, physical body, constitution, arrangement; may also signify universe, heavens, earth, or any part of it.

frame, this feeble house of

Critical Note

body. See Isaiah 64:8: “O Lord, thou art our father; we are the clay, and thou our potter.”

clay?

Of this frail frame, this

Critical Note

the body. See Isaiah 64:8, “O Lord, thou art our father; we are the clay, and thou our potter”.

feeble house of clay?

What can be expected from the humble birth

Of this fraile ffabrick but to fall to Earth

Of this

Gloss Note

edifice, fabricated construction

frail fabric, but to fall to earth?

Of this frail fabric, but to fall to earth?

The ~~Cristall~~^bubling fountaine being by Nature led

The bubbling fountain, being by nature led,

The

Physical Note

The scribal hand has scored out “crystal” and inserted “bubbling”.

bubbling fountain, being by nature led,

Will riſe noe Higher then her Criſtall head

Will

Critical Note

proverbial: “no stream can rise higher than its source” (Eardley)

rise no higher than her crystal head;

Will rise no higher than her crystal head;

Though many Marble

Physical Note

or “Aquœducts”

Aquaducts it fill

Though many marble aqueducts it fill,

Yet in a conſtant level it runs ſtill

Yet in a constant level it runs still.

So Mortall Man even from his very birth

So mortal man, even from his very birth,

So mortal man, e’en from his very birth,

Runs weeping on, then creeps into the Earth

Runs weeping on, then creeps into the earth.

Thoſe gorgious flowers which the vallies Crown

Those gorgeous flowers which the valleys crown,

That by the impartiall Siths \

Physical Note

insertion written in hand H2.

man \ are moan down

That by the impartial

Gloss Note

mower who uses a sharp blade

scytheman are

Critical Note

See Isaiah 40:6-8: “All flesh is grass, and all the goodliness thereof is as the flower of the field: The grass withereth, the flower fadeth: because the spirit of the Lord bloweth upon it: surely the people is grass. The grass withereth, the flower fadeth: but the word of our God shall stand forever.”

mown down:

That by the impartial

Gloss Note

“Scythes” in the scribal hand has had “man” added to it through an insertion in the hand likely to be Pulter’s own. As well as being a sharp, curved blade used to mow grass or other crops by hand, the scythe is commonly associated with Time and Death.

scytheman are mown down,

Trust mee they ſeeme to hang theire heads and weep

Trust me, they seem to hang their heads and weep,

Trust me they seem to hang their heads and weep

Cauſe in theire ca^uſes they ſoe ſoone muſt ſleep

’Cause, in their

Gloss Note

original, formative elements

causes, they so soon must sleep.

Critical Note

“because in their causes”, with wordplay on Pulter’s distinctive use of the word “cause” in the second instance to mean the grave, connected to the elements or matter from which the body is first produced, and to which it returns in death. See OED cause n 5: the material cause is elements or matter from which a thing is produced; and the First Cause is the original cause or creator of the universe. See also lines 32, 46.

’Cause in their causes they so soon must sleep.

Soe man to his first Principles must turn

So man to his

Gloss Note

origins, constituent parts, primary propositions; in alchemy, the substances composing all matter (mercury, salt, and sulfur)

first principles must

Gloss Note

return; rotate; revolve; reverse course; become; make use of; change into

turn,

So man to his

Gloss Note

the fundamental sources from which something proceeds, primary elements (OED I.1b and II.3b)

first principles must turn

And take A Nap in Black oblivions Urn

And take a nap in black Oblivion’s urn.

And take a nap in black oblivion’s urn.

Triumphant Laurel whoſe unconquered bowes

Triumphant

Gloss Note

foliage of bay tree

laurel, whose unconquered boughs

Gloss Note

In ancient Greece and Rome, bay laurel wreaths were awarded as an emblem of military victory or of distinction in poetry.

Triumphant laurel, whose unconquered boughs

Encircles Poets, and the illustrious browes

Encircles poets’ and the illustrious brows

Physical Note

MS = Encircles

Encircle poets, and the illustrious brows

Of Emperours: how ſoone alaſs wee ſee

Critical Note

Wreaths of laurel were presented to victorious military leaders and poets in ancient Rome.

emperors: how soon, alas, we see

Of emperors: how soon, alas, we see

Her

Physical Note

virgint^virgin~~all~~ Leaves all

Physical Note

directly below “fieldemort” and “Fillimott” above its second half, both in different hand from main scribe

fieldemort withered^Fillimott to bee

Her

Physical Note

In the manuscript, various hands have inscribed this word differently so that it could be “virgin” (chaste), “virginal” (unsullied), or “verdant” (lushly green).

verdant leaves all withered

Gloss Note

brownish or yellowish color like that of a dead leaf, from the French “feuillemorte”

filemot to be.

Physical Note

This line contains a number of amendments. The scribe has altered “virginall leaves” to “verdant leaves”, by altering and writing over letters in the main text. In an apparent misreading of priority, the “antiquarian hand” has written “virgin” above the altered word. The antiquarian has also annotated “fieldemort”, writing “Fillimott” above it—i.e. correctly understanding the word to be “filemot”. Beneath “fieldemort”, he has written “withered”, a definition of the word.

Her verdant leaves all

Gloss Note

the colour of a dead or faded leaf (from the French feuillemorte) (OED)

filemot to be.

E’ne ſoe Mans youth and

Physical Note

“a” appears added later

beauty doth decay

E’en so, man’s youth and beauty doth decay,

E’en so man’s youth and beauty doth decay;

Physical Note

His heat and Moisture Cooles and dries to clay

His heat and moisture cools and

Critical Note

See note in line 2 on “clay.” Heat and moisture were chief properties of the body, as understood in classical humoral physiology.

dries to clay.

His

Gloss Note

according to early modern humoural theory, these were two of the four qualities of the humoural body

heat and moisture cools and dries to clay.

The stately Cedar that aſpires ſoe High

The stately

Critical Note

associated with pride and great height. See Ezekiel 31:3-5: “Behold, the Assyrian was a cedar in Lebanon with fair branches, and with a shadowing shroud, and of an high stature; and his top was among the thick boughs. The waters made him great, the deep set him up on high with her rivers running round about his plants, and sent out her little rivers unto all the trees of the field. His height was exalted above all the trees of the field.”

cedar that aspires so high,

The stately

Critical Note

In the Bible, the cedar is associated with great stature. See, for example, Amos 2:9 and Ezekiel 31:3-5.

cedar that aspires so high,

Scorning the cloudes threatning to Scale the Skie

Scorning the clouds, threat’ning to scale the sky,

ffor all her pride a kernill was her birth

For all her pride, a

Gloss Note

seed

kernel was her birth,

For all her pride, a kernel was her birth,

Which Shewes at last ſhee must returne to Earth

Which shows, at last, she must return to earth.

Which shows at last she must return to earth;

Though she the living kill and dead

Critical Note

protect; keep alive, retain; cedar oil was used in ancient Egypt to embalm corpses

preserve,

Physical Note

Lines 27-30 have been added, in the margin, in the hand likely to be Pulter’s own. Their position for insertion is indicated with a small “x” above “So” at the beginning of line 31.

Though she the living kill and dead preserve,

Yet can she not from death herself reserve.

The

Gloss Note

tree associated with grieving

cypress that doth mourn for us in vain

The

Gloss Note

a tree traditionally associated with death and mourning (OED 1c).

cypress that doth mourn for us in vain

Shall be cut down and never sprout again.

Physical Note

“x” appears keyed to marginal note (see note 7)

Sxoe Man being tide to his Creatours lawes

So man, being tied to his Creator’s laws,

So man being tied to his creator’s laws

Must taste of Death and Shrinke unto his cauſe.

Must taste of death and shrink unto his cause.

Must taste of death and shrink unto his

Critical Note

See note to line 14.

cause.

The towering quick eyed Eagle that alone

The towering, quick-eyed eagle, that alone

The towering,

Critical Note

The eagle was said to force its young to gaze upon the sun in order to determine their worthiness. See Philemon Holland’s translation of Pliny’s Natural History, a favourite source of Pulter’s, 1.272.

quick-eyed eagle that alone

Outfaces Phebus in his blazeing Throne

Gloss Note

boldly confronts, contradicts

Outfaces

Gloss Note

sun god

Phoebus in his blazing throne,

Outfaces

Gloss Note

Greek god of the sun

Phoebus in his blazing throne,

and

And by that tryall bastard Birds diſclaime

And, by that trial,

Critical Note

According to legend, the eagle tests her young by having them look directly into the sun; those who fail are cast out of the nest.

bastard birds disclaim,

And by that trial, bastard birds disclaim,

Scorning they should be honoured with her name

Scorning they should be honored with her name;

Scorning they should be honoured with her name;

Yet ſhee and her’s to dust must all Resolve

Yet she and hers to dust must all

Gloss Note

to dissolve or decompose; also with the connotation of bringing to a clear conclusion

resolve,

Yet she and hers to dust must all resolve,

And ſad obſcuritie must them involve.

And sad obscurity must them

Gloss Note

entangle, envelop

involve.

And sad obscurity must them involve.

Soe miſerable Man doth draw his breath:

So miserable man doth draw his breath

Twixt hope and feare then sinks into the Earth.

Twixt hope and fear, then sinks into the earth.

’Twixt hope and fear, then sinks into the earth.

The Phenix on her lofty Alter lies

The phoenix on her lofty altar lies

The

Critical Note

The phoenix is a mythical bird which burns itself to ashes on an aromatic funeral pyre ignited by the sun and fanned by its own wings. The bird then rises from its own ashes to live again, but Pulter’s focus here is on the self-immolation which makes this possible. See Holland (trans.), Pliny’s Natural History, p. 271.

phoenix on her lofty altar lies

And Willingly a virgin victim dies

And willingly a

Gloss Note

pure, chaste

virgin victim dies;

And, willingly, a virgin victim dies,

Her Gold and purple Plums to Aſhes turns

Her gold and purple

Gloss Note

feathers

plumes to ashes turns

Her gold and purple plumes to ashes turns

As in her Aromatick Pier ſhee Burnes

As in her aromatic pyre

Critical Note

the phoenix, an Egyptian bird who burned in a sacrificial fire; a new phoenix was reborn from the ashes.

she burns.

As in her aromatic pyre she burns.

Soe Man that to eternitie

Physical Note

Final “e” imperfectly erased.

aſpires

So man, that to eternity aspires,

So man that to eternity aspires,

Conquer’d by Death into his Cauſe Retires

Conquered by death, into his cause retires.

Conquered by death, into his

Critical Note

See note to line 14.

cause retires.

The ſnowey Swan upon the[?] trembling brest,

The snowy swan upon the trembling breast

The snowy

Critical Note

According to Ovid, the swan only sang once, when dying; the “swan-song” has become proverbial. For a similar image of the singing swan on the silver Thames, see The Invitation into the Country [Poem 2], lines 31-4; and see The Complaint of Thames, 1647 [Poem 4], lines 100-104.

swan upon the trembling breast

Of Silver Thames, how poore a time of Rest;

Of silver

Gloss Note

river in England

Thames—how poor a time of rest

Of silver Thames, how poor a time of rest

Shee doth injoy, Soone droops her Milke white wings:

She doth enjoy—soon droops her milk-white wings,

She doth enjoy, soon droops her milk-white wings,

While ſadly Shee her Epicedium Sing’s.

While sadly she her

Gloss Note

funeral ode

epicedium

Critical Note

According to Ovid, the swan sang only once, when dying.

sings.

While sadly she her

Gloss Note

funeral ode

epicedium sings.

Soe while man Strives t’eterniſe others glory:

So while man strives

Gloss Note

immortalize

t’eternize others’ glory,

So while man strives t’eternise others’ glory,

Conſpireing Death, and time, cuts of his Story.

Conspiring Death and Time cuts off

Gloss Note

life, account of life

his story.

Conspiring Death and Time

Physical Note

MS = “cuts”

cut off his story.

The Stag that trips it or’e the Laun in State:

The

Gloss Note

A male deer prances (“trips it”) in a prosperous condition (“in state”)

stag that trips it o’er the lawn in state,

The

Critical Note

The stag is a male deer, also used by Pulter (and other royalists) to represent Charles I. See the extended simile inserted into Upon the Death of my Dear and Lovely Daughter, Jane Pulter [Poem 10] at lines 45-50.

stag that trips it o’er the lawn in state,

Scorning the ground is Subject unto fate.

Scorning the ground, is subject unto fate.

Even that brave heart which Blackmore once did hold

Even that brave

Gloss Note

deer

hart which

Gloss Note

a valley in southern England

Blackmore once did hold,

E’en that

Critical Note

Caesar was said to have put a collar around the neck of a deer with an inscription prohibiting its capture; it then lived to an extended age. The Vale of Blackmore, in Dorset, is where Caesar’s deer lived and was killed in some versions of the story. See Alice Eardley (ed.), Lady Hester Pulter: Poems, Emblems, and The Unfortunate Florinda (Toronto: Iter Inc. and Centre for Reformation and Restoration Studies, 2014), p. 67; and Michael Bath, “The Legend of Caesar’s Deer”, Medievalia et Humanistica, n.s., 9 (1979): 53-66. The best-known literary use of Caesar’s deer is in Thomas Wyatt’s sonnet, “Whoso list to hunt”.

brave hart which Blackmore once did hold,

Whose Snowey neck incircled was with gold;

Whose snowy neck encircled was with gold,

All Ages being deſired for Ceaſers ſake,

All ages being desired, for Caesar’s sake,

To ſpare his life when er’e they did him take:

To spare his life whene’er

Gloss Note

hunters

they did him

Critical Note

hunters throughout the ages were “desired” (here, required) to spare the deer’s life, out of respect for Caesar; Caesar’s deer reputedly lived for centuries.

take;

To spare his life whene’er they did him take,

but yet for all this Conquering Kings deſire,

But yet, for all this conquering king’s desire,

But yet for all this conquering king’s desire,

In teares hee did his vitall breath expire.

In tears

Gloss Note

the deer

he did his vital breath

Critical Note

Caesar reputedly put ornamental collars on all his deer, which guaranteed their safety; Caesar’s last deer was killed in Blackmore, according to legend (Eardley); “hart” doubles for “heart” here.

expire.

In tears he did his vital breath expire.

Soe Man that enter’s in’s ſad Mothers fear’s:

So man, that enters

Gloss Note

in his

in’s sad mother’s fears,

So man that enters in’s sad mother’s fears

As he begins, his Exit makes in teares.

As he begins, his exit makes: in tears.

As he begins, his exit makes in tears.

That beast which

Physical Note

corrected over “poiſoning”

poiſoned Waters

Physical Note

“k” written over earlier letter (possibly “ſ”), imperfectly erased with descender visible.

drink’s with Scorn,

That beast which poisoned waters drinks with scorn,

Gloss Note

the unicorn, whose horns were believed to have the power to purify water

That beast which poisoned waters drinks with scorn

Becauſe ſhee weares a Cordiall in her horne:

Because she wears a

Gloss Note

restorative medicine

cordial in

Gloss Note

The unicorn’s horn granted it the power to purify toxic waters.

her horn,

Because she wears a cordial in her horn,

ffrom putrefaction ſhee her being drew

From

Gloss Note

rottenness, decay

putrefaction she her

Critical Note

Aristotle posited that some life forms arose spontaneously from rotting matter.

being drew;

From putrefaction she her

Critical Note

Aristotle argued in De Generatione et Corruptione that some creatures were born spontaneously out of the putrifying bodies of others. This is another image of potential rebirth out of death; however, as with the phoenix in lines 41-4, Pulter leaves this potential only implicit.

being drew;

Corruption then at least will haue his due.

Corruption, then, at

Physical Note

“least” in the manuscript

last, will have his due.

Corruption then at least will have his due.

Soe Man (a las) no cure can find in Death

So man (alas) no cure can find in death,

When he that gave it takes away his breath

When He that gave it takes away

Gloss Note

man’s

his breath.

When he that gave it takes away his breath.

The King of Beasts that doth the forrest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

And at his pleaſure doth his paſture Change:

And, at his pleasure, doth his pasture change,

And at his pleasure doth his pasture change,

and

And (like our Hidra) makes his will his laws

And (like

Critical Note

here, Pulter’s view of the tyranny of the commonwealth government, derived from the multi-headed mythological water snake killed by Hercules; when one head was struck off, two shot up in its place.

our Hydra) makes his will his laws,

And, like our

Critical Note

in Greek mythology, a many-headed monster whose heads grow again as fast as they are cut off. Pulter uses the Hydra as a figure for Cromwell and the corruption she sees as associated with his rule. See The Invitation into the Country [Poem 2], line 4.

Hydra, makes his will his laws,

Tearing his vaſſals w:th his Cruill clawes

Tearing his

Gloss Note

subordinates, slaves

vassals with his cruel claws,

Tearing his vassals with his cruel claws;

As other creatures hath his Terrour felt

As other creatures hath his terror felt,

Soe Death will doe by him as he hath dealt

So Death will do by him, as he hath dealt.

So death will do by him as he hath dealt.

Soe domineering Man his Trophis must

So domineering man, his

Gloss Note

victories, tokens of victory

trophies must

So domineering man, his trophies must

Ere long bee read and ſeene in Nought but dust

Ere long be

Gloss Note

discerned, interpreted

read and seen in naught but dust.

Ere long be read and seen in nought but dust.

That huge Laviathan that playes and sportes

That huge

Gloss Note

enormous sea creature, whale

leviathan that plays and sports

That huge

Critical Note

aquatic animal (real or imaginary) of enormous size, frequently mentioned in Hebrew poetry; see Job 41:1-33. Pulter (as is common) conflates the leviathan and the whale. See also Pulter’s This Vast Leviathan (Emblem 12) [Poem 78].

leviathan that plays and sports

And makes mad Reax in Neptunes Azure courts

And

Gloss Note

undertakes pranks (“reaks”) in the Roman god of water’s (“Neptune’s”) blue (“azure”) waves

makes mad reaks in Neptune’s azure courts,

And makes mad

Gloss Note

pranks, playful tricks.

rex in

Gloss Note

Roman god of the sea.

Neptune’s azure courts,

Even he whose fellow was by fates direction

E’en he, whose

Gloss Note

kin

fellow was, by fate’s direction,

E’en he whose fellow was

Critical Note

A story from Jewish lore of two whales, male and female, castrated and pickled respectively by God to prevent them reproducing and causing widespread destruction Alice Eardley (ed.), Lady Hester Pulter: Poems, Emblems, and The Unfortunate Florinda (Toronto: Iter Inc. and Centre for Reformation and Restoration Studies, 2014), p. 68.).

by Fate’s direction

ffain’d to be powd’rd gainst the Reſurrection

Gloss Note

imagined

Feigned to be

Critical Note

Eardley cites Jewish lore, which tells of how God sought to prevent the reproduction of whales by pickling (or powdering) the female to serve as food for the righteous in eternity; the afterlife is what surpasses the Resurrection (God’s final judgment at the end of the world).

powdered ’gainst the Resurrection,

Gloss Note

fabled

Feigned to be

Gloss Note

salted, pickled for future use; preserved.

powdered

Gloss Note

in preparation for.

’gainst the resurrection,

That

Physical Note

end of word unclear, with apparently later addition of what looks like “a”, possibly part of malformed “n”

ſom[?] of Pride on the forſaken Shores

That

Critical Note

See Job 41:33-34, referring to the leviathan or whale: “Upon earth there is not his like, who is made without fear. / He beholdeth all high things: he is a king over all the children of pride.”

son of pride on the forsaken shores,

That

Critical Note

the whale, described in the Bible as “a king over all the children of pride” (Job 41:34). See also Pulter’s This Vast Leviathan" (Emblem 12) [Poem 78], line 9.

son of Pride on the forsaken shores,

Out of his Eliment his life out Rores

Out of his element, his life

Gloss Note

drowns out, throws into confusion

outroars.

Out of his element his life

Critical Note

Pulter’s meaning here is not “outroar”, a single word meaning to roar louder than (OED v). Rather, she means that the leviathan roars his life out (and in doing so expires). For a similarly distinctive usage, see The Invitation into the Country [Poem 2], in which the Thames “her loss deplores / And to the sea her grief out roars” (lines 29-30); and see The Complaint of Thames, 1647 [Poem 4], line 98: “I will roar out my grief unto the main”.

out roars.

Soe Man though hee all Creatures elce tranſcend

So man, though he all creatures else transcend

So man, though he all creatures else transcend,

In Sighs and Groanes, (ah mee) his life must end

In sighs and groans (ah me!), his life must end.

In sighs and groans (ah me) his life must end.

The Swiftest Creature that’s below the Moone

The

Gloss Note

dolphin

swiftest creature that’s below the moon,

The

Gloss Note

the dolphin

swiftest creature that’s below the moon,

Which ſav’d Orions life (alas) how ſoone

Critical Note

Arion, a musician/poet in ancient Greece who was kidnapped by pirates and rescued by dolphins

Which saved Arion’s life (alas), how soon

Which saved

Critical Note

MS = Orion’s. A Greek lyric poet and harpist, borne to safe land on a dolphin after being thrown overboard by Corinthian sailors. See Katherine Philips’s use of the Arion story to celebrate Charles II’s restoration to the monarchy, “Arion on a Dolphin, to His Majesty in his Passage into England”.

Arion’s life, alas how

Physical Note

MS = Which saved Orion’s life (alas) how soon. In modernising the punctuation of this line, I have attached the expostulation “alas” to “how soon her race will end” rather than to “saved Arion’s life”. For alternative modernisations of the punctuation of this line, see Leah Knight and Wendy Wall’s Elemental Edition of the poem, and Alice Eardley (ed.), Lady Hester Pulter: Poems, Emblems, and The Unfortunate Florinda (Toronto: Iter Inc. and Centre for Reformation and Restoration Studies, 2014).

soon

Her Race will

Physical Note

“e” or “ev,” scribbled out

[ev] end even in A little time

Her

Gloss Note

voyage or progress through life; contest of speed; also, species

race will end; even in a little time

Her race will end; e’en in a little time

Shee must returne againe to dirt or Slime

She must return again to dirt or slime.

Soe Man his Destinie can ner’e out run

So man, his destiny can ne’er outrun,

So man his destiny can ne’er outrun;

The cruell Parce cuts, Mans life is dun

The cruel

Gloss Note

three Fates who determine length of human lives by cutting threads

Parcae cuts: man’s life is done.

The cruel

Gloss Note

in Roman mythology, the three Fates, usually depicted as three women who draw forth, measure out, and cut the threads of human life.

Parcae

Physical Note

MS = “cuts”

cut, man’s life is done.

The little Remmora that nere will fayle

The little

Gloss Note

suckerfish that can attach to anything in the water and, in legends, could impede their movement; obstacle

remora that ne’er will fail

The little

Critical Note

a little fish that attaches itself to the underside of ships, slowing its passage or preventing it entirely from moving (commonly used figuratively or emblematically). See the description in Holland’s translation of Pliny’s Natural History, 2.425.

remora that ne’er will fail

To stop the Proudest Ship thats under Sayle

To stop the proudest ship that’s under sail,

When Death doth summon her Shee must away

When Death doth summon her, she must away;

When Death doth summon her she must away;

ffor all her Art Shee cant make time to Stay

For all her art, she can’t make time to

Gloss Note

halt, support

stay.

For all her art she can’t make time to stay.

So Man that Strives to blurr anothers fame

So man, that strives to

Gloss Note

blemish

blur another’s fame,

So man that strives to blur another’s fame,

Death comes the while and blots out his own name

Death comes the

Gloss Note

meanwhile

while and

Gloss Note

stains, disfigures in ink

blots out his own name.

Death comes the while and blots out his own name.

thoſe

Those Cittyes that the Orient kingdoomes gracest

Those cities that the

Gloss Note

eastern

orient kingdoms

Gloss Note

honors

gracest,

Those cities that the orient kingdoms gracest,

Beneath theere Ruins (Sadly) li’es defacest

Beneath their ruins (sadly) lies defacest:

Beneath their ruins, sadly, lies defacest,

As Ninnivie Perſepoles, the faire

Gloss Note

Such as

As Nineveh, Persepolis the fair,

Gloss Note

an ancient Assyrian city founded by Nimrod (Genesis 10:11).

Nineveh,

Gloss Note

the ceremonial capital of the Achaemenid Empire, in ancient Persia.

Persepolis the fair,

100

And Babilon (Soe famous) all deſpaire

And

Critical Note

Babylon, in ancient Mesopotamia (now Iraq), like Nineveh, in Assyria (now Iraq) and Persepolis, in ancient Persia (now Iran), referred to in the previous line, were ancient towns that were destroyed

Babylon (so famous!), all despair

And

Gloss Note

ancient city on the River Euphrates, in Mesopotamia, famous for its monumental buildings and hanging gardens

Babylon so famous, all despair

101

Of ever being Reſtored againe, and now

Of ever being restored again; and now

Of ever being restored again, and now

102

Wee ſee that all to time and fate muſt bow

We see that all to time and fate must bow.

103

Soe wretched Man whoſe Structure is of dust

So wretched man, whose structure is of

Critical Note

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.”

dust,

So wretched man, whose structure is of dust,

104

After his periods past he moulder must

After his

Gloss Note

time’s

period’s past, he

Gloss Note

disintegrate

molder must,

After his period’s past, he moulder must,

105

And this our Globe of Earth er’e long Shall burn

And this, our globe of earth,

Gloss Note

before

ere long shall burn,

And this our globe of earth ere long shall burn

106

And all her pomp and Pride to ^Cinders Ashes turn

And all her pomp and pride to

Physical Note

The manuscript reads “ashes,” with “cinders” inserted above by the main scribe; given the poem’s meter, it seems likely that the scribe omitted to strike out “ashes” after replacing it.

cinders

Gloss Note

transform, return

turn.

And all her pomp and pride to

Physical Note

The scribe has added “cinders” above this word; a caret indicates the insertion, but “ashes” has not been scored out, and no priority has been indicated between the two alternatives.

ashes turn.

107

Then my impatiant Soule what cans’t thou Say

Then, my impatient soul, what canst thou say,

108

Seeing all Sublunary things decay

Seeing all

Gloss Note

earthly (beneath the moon), minor

sublunary things decay?

Seeing all

Gloss Note

beneath the moon; i.e. earthly, belonging to this world

sublunary things decay?

109

Nay mark Aurora in her youthfull pride

Nay, mark

Gloss Note

goddess of dawn

Aurora, in her youthful pride,

Nay, mark

Gloss Note

Roman goddess of the dawn (and the subject of several poems by Pulter)

Aurora in her youthful pride,

110

Her purple Curtains newly drawn aſide

Her purple curtains newly drawn aside,

111

As when her bleſſed Infant Shee brought forth

As when her blesséd infant she brought forth,

As when her blessed infant she brought forth,

112

The faire Astrea of unparreld worth

The fair

Critical Note

goddess of justice, whom Pulter identifies as well with truth; daughter of Aurora

Astraea of unparalleled worth.

The fair

Gloss Note

in Roman mythology, daughter of Aurora and Astraeus, and the goddess of truth or justice.

Astraea of

Gloss Note

unparalleled, a contraction common in Pulter’s poems.

unparalled worth.

113

Bright is the one but brighter is the other

Bright is the one, but brighter is the other;

114

The Daughter infinitely excels the Mother

The daughter infinitely excels the mother.

115

Light from mine eyes I wiſh may never part

Light from mine eyes, I wish may never part,

Light from mine eyes I wish may never part,

116

But thou Sweete Truth Shalt harbor in my heart

But thou, sweet Truth, shalt harbor in my heart.

But thou, sweet Truth, shalt harbour in my heart;

117

Yet this most glorious Creature light Soone fades

Yet this most glorious creature, Light, soon fades

118

And is inveloped in nights darke Shades

And is enveloped in night’s dark shades.

119

Soe though Mans Soule’s a beame of Heavenly light

So though man’s soul’s a beam of heavenly light,

So, though man’s soul’s a beam of heavenly light,

120

Yet must his body Sleepe in Death and Night

Yet must his body sleep in death and night.

121

Nay Cinthias borrowed Splenden~~cen~~cie Shall ceaſe

Nay,

Gloss Note

the moon’s

Cynthia’s borrowed

Gloss Note

splendor

splendency shall cease,

Nay,

Gloss Note

an epithet of Artemis, the Greek goddess of the moon.

Cynthia’s

Gloss Note

the moon reflects the light of the sun

borrowed splendency shall cease,

122

And Shee Shall leave to wane and to increase

And she shall

Gloss Note

cease

leave to wane and to increase;

And she shall

Gloss Note

cease

leave to wane and to increase,

nor

123

Nor shall her changes make

Physical Note

“our” appears above “o:r” (which has superscript “r”); insertions appear to be in two hands, each different from main scribe

^o:r our Ocean Riſe

Nor shall her changes make our ocean rise

124

Or fall, or her Sad influence cloſe our eyes

Or fall, or her sad influence close our eyes.

125

Hers and her Brothers firery Shafts noe more

Hers and

Gloss Note

Apollo’s (the sun god’s)

her brother’s fiery shafts no more

Gloss Note

MS = Hers. The fiery shafts of Artemis, and her brother Apollo, the Greek god of the sun

Her and her brother’s fiery shafts no more

126

Shall make poore Niobies theire loſs deplore

Shall make poor

Critical Note

siblings Apollo and Cynthia (Artemis) transformed Niobe into a weeping rock for bragging that she had more children than their mother; here, the sun and moon, which Pulter imagines as continuously spurring all grieving mothers (figuratively, “Niobes”) to mourn their losses, will disappear and no longer exert influence.

Niobes their loss deplore.

Shall make poor

Critical Note

in Greek mythology, Artemis and Apollo punished Niobe, who had boasted of having more children than their mother, Leto. Artemis and Apollo killed Niobe’s children and transformed her into a weeping stone. Niobe became a common literary figure for a woman’s profound grief for her children. See Upon the Death of my Dear and Lovely Daughter, Jane Pulter [Poem 10], line 50.

Niobes their loss deplore.

127

The glittering harbinger of Cheerfull Day

The glitt’ring

Gloss Note

forerunner

harbinger of

Gloss Note

Aurora, goddess of dawn

cheerful day,

The

Gloss Note

Aurora, goddess of the dawn (harbinger: one that goes before)

glittering harbinger of cheerful day

128

That leads the Sable Empris on her way

That leads the

Gloss Note

Night

sable Empress on her way,

That leads the

Gloss Note

night

sable empress on her way,

129

Bearing a Torch her Ebone Coach beſide

Bearing a torch her

Gloss Note

black

ebon coach beside,

Bearing a torch, her

Gloss Note

i.e. ebony (black)

ebon coach beside,

130

As shee Triumphant round our Orb doth ride

As she, triumphant, round

Gloss Note

Earth

our orb doth ride,

As she triumphant round our orb doth ride,

131

E’ne Shee

Physical Note

strike-through of complete word, starting “A” and ending “ſed”

[?] shall bee \

Physical Note

written in hand H2

amaz’d \ and lose her way

E’en she shall be

Gloss Note

bewildered, astonished

amazed and lose her way,

Physical Note

This line has been amended. Originally “E’en she a[..s.d] shall be, and lose her way”, the word beginning with “a” (possibly “abused”?) has been scored out, and “amazed” has been added above the line to create “E’en she shall be amazed, and lose her way”. The word “amazed” is in the hand likely to be Pulter’s own, suggesting this is an authorial amendment.

E’en she shall be

Gloss Note

bewildered, confounded, perplexed; also terror-stricken (OED 2 and 3)

amazed, and lose her way,

132

Not able to conduct the Night or Day

Not able to conduct the night or day.

133

Nor Shall that Slie the^ife, Hermes, ever keepe

Nor shall that sly thief Hermes ever

Gloss Note

confine himself, remain

keep,

Nor shall that sly thief,

Critical Note

Hermes is Mercury, the planet closest to the sun, and therefore very difficult for astronomers to see behind the “illustrious sunbeams”. Here he is depicted as playing bo-peep, a nursery game of hiding one’s face and suddenly reappearing (OED).

Hermes, ever keep

134

Behind the illuſtrious Sun beams playing bopeep

Behind th’illustrious sun beams, playing bo peep;

Behind th’illustrious sunbeams, playing bo-peep;

135

His light shall bee obſcured noe more with light

His light shall be obscured no more with light,

136

But all his Knaveries Shall come in Sight

But all his

Gloss Note

mischiefs

knaveries shall

Critical Note

Hermes, or Mercury, is both the trickster messenger god and the planet Mercury, which is hidden by the sun, seeming to play a nursery game of hide and seek.

come in sight.

But all his

Gloss Note

trickeries

knaveries shall come in sight.

137

The ffount and Center of all Light the Sun

The

Gloss Note

source, fountain

fount and center of all light, the sun,

The fount and centre of all light, the sun,

138

Round whom

Physical Note

“w” possibly corrected to “t” in different hand from main scribe

whoſe Orbs perpetually doe run

Round whom those

Gloss Note

planets

orbs perpetually do run,

Round whom

Physical Note

Originally “whose”, the word may have been corrected, through an adjustment of the “w”, to “those” (a better word here).

those orbs perpetually do run,

139

Shall all his influence and ^light contract

Shall all his influence and light contract,

140

Which will Amazed Nature quite diſtract

Which will amazéd Nature quite distract.

Which will

Gloss Note

see note to line 131; or here, perhaps, lost in wonder and astonishment (OED 4)

amazèd Nature quite distract.

141

Auſpitious Jupiter poore Mortals friend

Critical Note

Jupiter, the largest planet and supreme god in Roman pantheon, is seen, in astrology, as “auspicious” (presenting a positive omen), temperate, wise, benevolent, and concerned with law and judgement, with tacit affiliations to Christian judgement in art.

Auspicious Jupiter, poor mortal’s friend,

Critical Note

Jupiter is the largest planet in the solar system and the supreme Roman god. In astrological terms, the planet is “auspicious”, a sign that good things will happen.

Auspicious Jupiter, poor mortals’ friend,

142

His mild Aspect to earth noe more Shall Send

His mild aspect to earth no more shall send.

His mild aspect to earth no more shall send;

143

ffierce

Physical Note

imperfectly blotted “e” afterward

Mars his flagrant rapeire Shall put up

Fierce

Gloss Note

god of war

Mars his

Gloss Note

blazing sword

flagrant rapier shall put up,

Gloss Note

the planet associated with the god of war.

Fierce Mars, his

Gloss Note

blazing, burning sword.

flagrant rapier shall

Gloss Note

lay aside.

put up,

144

Seing totall Nature drinks the Selfe Same cup

Seeing total Nature drinks the

Gloss Note

identical

selfsame cup

Seeing total Nature drinks the self-same cup;

145

And that Malignant Melancholy Star

And that

Gloss Note

Saturn

malignant, melancholy star

And that

Gloss Note

Saturn, which has a long astrological association with melancholy

malignant, melancholy star

146

That to doe miſchiefe could diſcerne ſoe fare

That, to do mischief, could

Gloss Note

see, perceive

discern so far

That, to do mischief, could discern so far

147

As sweete

Physical Note

“ni” overwrites an unknown letter

Hibernie Where

Physical Note

appears crowded between surrounding words

I first had life

As sweet

Gloss Note

classical name for Ireland

Hibernie where I

Critical Note

Pulter was born outside of Dublin.

first had life,

As sweet

Critical Note

Pulter was born in Ireland, the classical Latin name for which is Hibernia. Here, she describes Saturn as presiding over her birth even in Ireland. She frequently refers in her poetry to the influence of melancholic Saturn on her life and character. See Alice Eardley, “Saturn (whose aspects soe sads my soul)”: Lady Hester Pulter’s Feminine Melancholic Genius”, in Michael Denbo (ed.), New Ways of Looking at Old Texts, IV: Papers of the Renaissance English Text Society, 2002-2006 (Tempe, AZ: ACMRS, 2008), pp. 239-252.

Hibernie, where I first had life,

148

Now quite destroyed by Atropus Keene Knife

Now quite destroyed by

Gloss Note

one of the three Fates’

Atropos’s

Gloss Note

sharp

keen knife.

Now quite destroyed by

Gloss Note

one of the three Fates (or Parcae, line 90), she who cuts the thread of mortal life

Atropos’ keen knife.

149

Ah cruell stars not mee alone anoy

Ah, cruel stars, not me alone annoy,

Ah, cruel stars not me alone annoy,

150

But my poore Countrey too they must destroy

But my poor country too,

Gloss Note

the stars

they must destroy.

But my poor country, too, they must destroy!

151

But those conjunctions too er’e long Shall ceaſe

But those

Gloss Note

alignments of the stars

conjunctions too ere long shall cease;

But those

Gloss Note

alignments of the stars

conjunctions, too, ere long shall cease,

152

When

Physical Note

“A” overwrites “ſt”

Alls to Chaos turnd there will be peace

When all’s to chaos turned, there will be peace.

153

The Six proud Pleads Shall theire bevty hide

The six proud

Critical Note

cluster of stars in the constellation Taurus, of which only six are visible; in mythology, seven virgin followers of the goddess Artemis, whom Zeus turned into stars to protect them from the sexual advances of Orion

Pleiades shall their beauty hide,

The

Critical Note

The Pleiades are a prominent cluster of stars in the constellation Taurus, often referred to as seven (or “the seven sisters”) even though only six are easily visible to the naked eye. These six are the “proud” (splendid, standing out) Pleiades which Pulter imagines becoming dark.

six proud Pleiads shall their beauty hide,

154

As well as Sissiphus his baſhfull Bride

As well as Sisyphus his bashful

Critical Note

Merope, a nearly invisible star in the Pleiades (see note on “Pleiades,” line 153); she hides her face for shame at having married a mortal, while all her sisters mated with gods; wife of Sisyphus, condemned eternally to push a rock up a hill and have it roll back before he reached the summit

bride.

As well as

Critical Note

Merope, the nearly invisible star in the Pleaides (see note above), who hides her face in shame at having married a mortal (Sisyphus), while all her sisters mated with gods

Sisyphus, his bashful bride;

155

Then Shall Orions Harpe noe Muſick make

Then shall

Critical Note

conflating Orion, a giant hunter turned into a constellation, with musician Arion (see note on Parcae)

Orion’s harp no music make,

Then shall

Critical Note

in Greek mythology, a giant and huntsman transformed at his death into a constellation of stars. Pulter here conflates him with the Greek lyric poet and harpist Arion (see note to line 86).

Orion’s harp no music make,

156

But ſuch as Shall the Stoutest Courage Shake

But such as shall the

Gloss Note

proudest, fiercest

stoutest courage shake.

But such as shall the stoutest courage shake;

157

Thoſe tender hearted Siſters Shall noe more

Those

Gloss Note

the Hyades (or the “rainers”), seven nymphs who wept at the death of their brother, Hyas, so much that Zeus turned then into a constellation, which appears in rainy seasons.

tenderhearted sisters shall no more

Those

Gloss Note

the Hyades, sisters in Greek mythology to the Pleiades and the Hesperides

tender-hearted sisters shall no more

158

Theire brother Hilas hasty fate deplore

Their brother Hyas’s hasty fate deplore,

Critical Note

MS = Hilas. In Greek mythology, the Hyades are “the rainy ones”; they were seven nymphs who wept so much at the death of their brother, Hyas, that Zeus turned them into a constellation, which appears in rainy seasons.

Their brother Hyas’ hasty fate deplore,

159

Sho^wreing from theire Sad eyes Such floods of Rain

Showering from their sad eyes such floods of rain

Show’ring from their sad eyes such floods of rain

160

That oft the plowmans hopes and labour’s vaine

That oft the plowman’s hopes and labor’s vain.

That oft the plowman’s hopes and

Gloss Note

i.e. labour is

labour’s vain.

161

The Vulture that did Stop Mans high deſigne

The

Critical Note

constellation Lyra that shines from the sky and is represented as a bird, either eagle or vulture (Eardley); creature who gnawed on Prometheus’s liver

vulture that did stop man’s high design,

The

Gloss Note

one of two northern constellations, Lyra or Aquila

vulture that did stop man’s high design

162

Must stoope to fate and ceaſe to fly ^or

Physical Note

initial “a” scribbled out; “g” written over with “ſ”; “h” writes over another “a”, correcting “againe” to “ſhine”

[ag]ſhine

Must stoop to fate and cease to fly or shine.

Must stoop to fate and cease to fly or

Physical Note

amended from “again”, in the scribal hand

shine,

163

And all the Gems of Ariadnas Crown

And all the gems of

Critical Note

Abandoned by Theseus, after she helped him kill the Minotaur, Ariadne is transformed by Dionysius into a constellation crowned by seven stars.

Ariadne’s crown

And all the gems of

Gloss Note

in Greek mythology, a consort of Theseus and Dionysus, who transforms here into a constellation crowned by seven stars

Ariadne’s crown

164

Shall loſe theire (Sparkling) luster & drop down

Shall lose their sparkling luster and drop down.

Shall lose their sparkling lustre and drop down.

165

Nor Shall pale Aſaph evermore apeare

Nor shall pale

Gloss Note

comet visible every 400 years

Asoph evermore appear

Nor shall pale

Gloss Note

a comet thought to appear every 400 years.

Asoph

Gloss Note

for all future time

evermore appear

166

At the Revolving of fowre Hundred yeare

At the revolving of four hundred year;

At the revolving of four hundred year,

167

ffor though her abſence wee have long indur’d

For though her absence we have long endured,

168

Yet Shall Shee bee eternally obſcur’d

Yet shall she be eternally obscured.

169

Bold Syrius no more Shall Shew her face

Bold

Gloss Note

Dog Star, appearing in hot summer

Sirius no more shall show her face,

Bold

Gloss Note

the Dog Star, one of the brightest stars in the sky. In ancient times, the rising of the Dog Star was associated with the hottest, most sultry days of summer (“dog days”).

Sirius no more shall show her face,

170

As Shee doth uſe when Phebus is in place

As she doth use when Phoebus is in place.

As she

Gloss Note

usually does

doth use when

Gloss Note

the Greek god of the sun

Phoebus is in place,

171

But these and all the fixed Orbs of light

But these, and all the fixéd orbs of light,

But these and all the fixèd orbs of light

172

Shall bee involv’d once more in Horred night

Shall be involved once more in horrid night.

Shall be

Gloss Note

enveloped

involved once more in horrid night.

173

Like Robes the Elements Shall folded

Physical Note

corrected from “bee”

lie

Like robes, the

Critical Note

basic substances of which all material bodies are composed; in ancient philosophy, believed to be earth, water, air, and fire.

elements shall folded lie

Like robes, the elements shall folded lie

174

In the vast wardrope of eternitie

In the vast wardrobe of eternity.

175

Then my unſetled ſoule bee more reſolv’d

Then my unsettled soul, be more

Gloss Note

disintegrated; convinced

resolved,

Then my unsettled soul be more resolved,

176

Se’eing all this Univerſe must be diſſolv’d.

Seeing all this universe must be

Critical Note

See first note.

dissolved.

Seeing all this universe must be

Critical Note

See note to Title.

dissolved.

Notes: Elemental Edition

Title note

  Gloss note 

Title note

  Critical note 

This is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

Title note

  Critical note 

  Editorial note 

  Headnote 

Line number 2

  Gloss note 

here, structure, physical body, constitution, arrangement; may also signify universe, heavens, earth, or any part of it.

Line number 2

  Critical note 

body. See Isaiah 64:8: “O Lord, thou art our father; we are the clay, and thou our potter.”

Line number 4

  Gloss note 

edifice, fabricated construction

Line number 6

  Critical note 

proverbial: “no stream can rise higher than its source” (Eardley)

Line number 12

  Gloss note 

mower who uses a sharp blade

Line number 12

  Critical note 

Line number 14

  Gloss note 

original, formative elements

Line number 15

  Gloss note 

origins, constituent parts, primary propositions; in alchemy, the substances composing all matter (mercury, salt, and sulfur)

Line number 15

  Gloss note 

return; rotate; revolve; reverse course; become; make use of; change into

Line number 17

  Gloss note 

foliage of bay tree

Line number 19

  Critical note 

Wreaths of laurel were presented to victorious military leaders and poets in ancient Rome.

Line number 20

  Physical note 

In the manuscript, various hands have inscribed this word differently so that it could be “virgin” (chaste), “virginal” (unsullied), or “verdant” (lushly green).

Line number 20

  Gloss note 

brownish or yellowish color like that of a dead leaf, from the French “feuillemorte”

Line number 22

  Critical note 

See note in line 2 on “clay.” Heat and moisture were chief properties of the body, as understood in classical humoral physiology.

Line number 23

  Critical note 

Line number 25

  Gloss note 

seed

Line number 27

  Critical note 

protect; keep alive, retain; cedar oil was used in ancient Egypt to embalm corpses

Line number 29

  Gloss note 

tree associated with grieving

Line number 34

  Gloss note 

boldly confronts, contradicts

Line number 34

  Gloss note 

sun god

Line number 35

  Critical note 

According to legend, the eagle tests her young by having them look directly into the sun; those who fail are cast out of the nest.

Line number 37

  Gloss note 

to dissolve or decompose; also with the connotation of bringing to a clear conclusion

Line number 38

  Gloss note 

entangle, envelop

Line number 42

  Gloss note 

pure, chaste

Line number 43

  Gloss note 

feathers

Line number 44

  Critical note 

the phoenix, an Egyptian bird who burned in a sacrificial fire; a new phoenix was reborn from the ashes.

Line number 48

  Gloss note 

river in England

Line number 50

  Gloss note 

funeral ode

Line number 50

  Critical note 

According to Ovid, the swan sang only once, when dying.

Line number 51

  Gloss note 

immortalize

Line number 52

  Gloss note 

life, account of life

Line number 53

  Gloss note 

A male deer prances (“trips it”) in a prosperous condition (“in state”)

Line number 55

  Gloss note 

deer

Line number 55

  Gloss note 

a valley in southern England

Line number 58

  Gloss note 

hunters

Line number 58

  Critical note 

hunters throughout the ages were “desired” (here, required) to spare the deer’s life, out of respect for Caesar; Caesar’s deer reputedly lived for centuries.

Line number 60

  Gloss note 

the deer

Line number 60

  Critical note 

Line number 61

  Gloss note 

in his

Line number 64

  Gloss note 

restorative medicine

Line number 64

  Gloss note 

The unicorn’s horn granted it the power to purify toxic waters.

Line number 65

  Gloss note 

rottenness, decay

Line number 65

  Critical note 

Aristotle posited that some life forms arose spontaneously from rotting matter.

Line number 66

  Physical note 

“least” in the manuscript

Line number 68

  Gloss note 

man’s

Line number 69

  Gloss note 

lion

Line number 71

  Critical note 

here, Pulter’s view of the tyranny of the commonwealth government, derived from the multi-headed mythological water snake killed by Hercules; when one head was struck off, two shot up in its place.

Line number 72

  Gloss note 

subordinates, slaves

Line number 75

  Gloss note 

victories, tokens of victory

Line number 76

  Gloss note 

discerned, interpreted

Line number 77

  Gloss note 

enormous sea creature, whale

Line number 78

  Gloss note 

undertakes pranks (“reaks”) in the Roman god of water’s (“Neptune’s”) blue (“azure”) waves

Line number 79

  Gloss note 

kin

Line number 80

  Gloss note 

imagined

Line number 80

  Critical note 

Line number 81

  Critical note 

See Job 41:33-34, referring to the leviathan or whale: “Upon earth there is not his like, who is made without fear. / He beholdeth all high things: he is a king over all the children of pride.”

Line number 82

  Gloss note 

drowns out, throws into confusion

Line number 85

  Gloss note 

dolphin

Line number 86

  Critical note 

Arion, a musician/poet in ancient Greece who was kidnapped by pirates and rescued by dolphins

Line number 87

  Gloss note 

voyage or progress through life; contest of speed; also, species

Line number 90

  Gloss note 

three Fates who determine length of human lives by cutting threads

Line number 91

  Gloss note 

suckerfish that can attach to anything in the water and, in legends, could impede their movement; obstacle

Line number 94

  Gloss note 

halt, support

Line number 95

  Gloss note 

blemish

Line number 96

  Gloss note 

meanwhile

Line number 96

  Gloss note 

stains, disfigures in ink

Line number 97

  Gloss note 

eastern

Line number 97

  Gloss note 

honors

Line number 99

  Gloss note 

Such as

Line number 100

  Critical note 

Babylon, in ancient Mesopotamia (now Iraq), like Nineveh, in Assyria (now Iraq) and Persepolis, in ancient Persia (now Iran), referred to in the previous line, were ancient towns that were destroyed

Line number 103

  Critical note 

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.”

Line number 104

  Gloss note 

time’s

Line number 104

  Gloss note 

disintegrate

Line number 105

  Gloss note 

before

Line number 106

  Physical note 

The manuscript reads “ashes,” with “cinders” inserted above by the main scribe; given the poem’s meter, it seems likely that the scribe omitted to strike out “ashes” after replacing it.

Line number 106

  Gloss note 

transform, return

Line number 108

  Gloss note 

earthly (beneath the moon), minor

Line number 109

  Gloss note 

goddess of dawn

Line number 112

  Critical note 

goddess of justice, whom Pulter identifies as well with truth; daughter of Aurora

Line number 121

  Gloss note 

the moon’s

Line number 121

  Gloss note 

splendor

Line number 122

  Gloss note 

cease

Line number 125

  Gloss note 

Apollo’s (the sun god’s)

Line number 126

  Critical note 

Line number 127

  Gloss note 

forerunner

Line number 127

  Gloss note 

Aurora, goddess of dawn

Line number 128

  Gloss note 

Night

Line number 129

  Gloss note 

black

Line number 130

  Gloss note 

Earth

Line number 131

  Gloss note 

bewildered, astonished

Line number 133

  Gloss note 

confine himself, remain

Line number 136

  Gloss note 

mischiefs

Line number 136

  Critical note 

Hermes, or Mercury, is both the trickster messenger god and the planet Mercury, which is hidden by the sun, seeming to play a nursery game of hide and seek.

Line number 137

  Gloss note 

source, fountain

Line number 138

  Gloss note 

planets

Line number 141

  Critical note 

Line number 143

  Gloss note 

god of war

Line number 143

  Gloss note 

blazing sword

Line number 144

  Gloss note 

identical

Line number 145

  Gloss note 

Saturn

Line number 146

  Gloss note 

see, perceive

Line number 147

  Gloss note 

classical name for Ireland

Line number 147

  Critical note 

Pulter was born outside of Dublin.

Line number 148

  Gloss note 

one of the three Fates’

Line number 148

  Gloss note 

sharp

Line number 150

  Gloss note 

the stars

Line number 151

  Gloss note 

alignments of the stars

Line number 153

  Critical note 

Line number 154

  Critical note 

Line number 155

  Critical note 

conflating Orion, a giant hunter turned into a constellation, with musician Arion (see note on Parcae)

Line number 156

  Gloss note 

proudest, fiercest

Line number 157

  Gloss note 

the Hyades (or the “rainers”), seven nymphs who wept at the death of their brother, Hyas, so much that Zeus turned then into a constellation, which appears in rainy seasons.

Line number 161

  Critical note 

constellation Lyra that shines from the sky and is represented as a bird, either eagle or vulture (Eardley); creature who gnawed on Prometheus’s liver

Line number 163

  Critical note 

Abandoned by Theseus, after she helped him kill the Minotaur, Ariadne is transformed by Dionysius into a constellation crowned by seven stars.

Line number 165

  Gloss note 

comet visible every 400 years

Line number 169

  Gloss note 

Dog Star, appearing in hot summer

Line number 173

  Critical note 

basic substances of which all material bodies are composed; in ancient philosophy, believed to be earth, water, air, and fire.

Line number 175

  Gloss note 

disintegrated; convinced

Line number 176

  Critical note 

See first note.

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Elemental Edition

Universall diſſolution made when I was with Child of my 15th Child

Physical Note

blotted with especially large blot on “John”; blot darker on facing page

my ſonne John I being every one thought in a Conſumption 1648

Gloss Note

Universal Dissolution, Made When I Was with Child, of my 15th Child,

Critical Note

This is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

my Son, John, I Being, Everyone Thought, in a

Critical Note

Consumption, 1648

Universal

Gloss Note

reduction to elements or atoms; disintegration; death

Dissolution, Made When I Was With Child of

Critical Note

My 15th Child (My Son John), I Being, Everyone Thought, in a Consumption, 1648

Critical Note

— Leah Knight and Wendy Wall

My Soule why art thou ſad at the decay

My soul, why art thou sad at the decay

Of this fraile frame this feeble houſe of clay

Of this frail

Gloss Note

here, structure, physical body, constitution, arrangement; may also signify universe, heavens, earth, or any part of it.

frame, this feeble house of

Critical Note

body. See Isaiah 64:8: “O Lord, thou art our father; we are the clay, and thou our potter.”

clay?

Of this frail frame, this

Critical Note

the body. See Isaiah 64:8, “O Lord, thou art our father; we are the clay, and thou our potter”.

feeble house of clay?

What can be expected from the humble birth

Of this fraile ffabrick but to fall to Earth

Of this

Gloss Note

edifice, fabricated construction

frail fabric, but to fall to earth?

Of this frail fabric, but to fall to earth?

The ~~Cristall~~^bubling fountaine being by Nature led

The bubbling fountain, being by nature led,

The

Physical Note

The scribal hand has scored out “crystal” and inserted “bubbling”.

bubbling fountain, being by nature led,

Will riſe noe Higher then her Criſtall head

Will

Critical Note

proverbial: “no stream can rise higher than its source” (Eardley)

rise no higher than her crystal head;

Will rise no higher than her crystal head;

Though many Marble

Physical Note

or “Aquœducts”

Aquaducts it fill

Though many marble aqueducts it fill,

Yet in a conſtant level it runs ſtill

Yet in a constant level it runs still.

So Mortall Man even from his very birth

So mortal man, even from his very birth,

So mortal man, e’en from his very birth,

Runs weeping on, then creeps into the Earth

Runs weeping on, then creeps into the earth.

Thoſe gorgious flowers which the vallies Crown

Those gorgeous flowers which the valleys crown,

That by the impartiall Siths \

Physical Note

insertion written in hand H2.

man \ are moan down

That by the impartial

Gloss Note

mower who uses a sharp blade

scytheman are

Critical Note

mown down:

That by the impartial

Gloss Note

scytheman are mown down,

Trust mee they ſeeme to hang theire heads and weep

Trust me, they seem to hang their heads and weep,

Trust me they seem to hang their heads and weep

Cauſe in theire ca^uſes they ſoe ſoone muſt ſleep

’Cause, in their

Gloss Note

original, formative elements

causes, they so soon must sleep.

Critical Note

’Cause in their causes they so soon must sleep.

Soe man to his first Principles must turn

So man to his

Gloss Note

origins, constituent parts, primary propositions; in alchemy, the substances composing all matter (mercury, salt, and sulfur)

first principles must

Gloss Note

return; rotate; revolve; reverse course; become; make use of; change into

turn,

So man to his

Gloss Note

the fundamental sources from which something proceeds, primary elements (OED I.1b and II.3b)

first principles must turn

And take A Nap in Black oblivions Urn

And take a nap in black Oblivion’s urn.

And take a nap in black oblivion’s urn.

Triumphant Laurel whoſe unconquered bowes

Triumphant

Gloss Note

foliage of bay tree

laurel, whose unconquered boughs

Gloss Note

In ancient Greece and Rome, bay laurel wreaths were awarded as an emblem of military victory or of distinction in poetry.

Triumphant laurel, whose unconquered boughs

Encircles Poets, and the illustrious browes

Encircles poets’ and the illustrious brows

Physical Note

MS = Encircles

Encircle poets, and the illustrious brows

Of Emperours: how ſoone alaſs wee ſee

Critical Note

Wreaths of laurel were presented to victorious military leaders and poets in ancient Rome.

emperors: how soon, alas, we see

Of emperors: how soon, alas, we see

Her

Physical Note

virgint^virgin~~all~~ Leaves all

Physical Note

directly below “fieldemort” and “Fillimott” above its second half, both in different hand from main scribe

fieldemort withered^Fillimott to bee

Her

Physical Note

In the manuscript, various hands have inscribed this word differently so that it could be “virgin” (chaste), “virginal” (unsullied), or “verdant” (lushly green).

verdant leaves all withered

Gloss Note

brownish or yellowish color like that of a dead leaf, from the French “feuillemorte”

filemot to be.

Physical Note

Her verdant leaves all

Gloss Note

the colour of a dead or faded leaf (from the French feuillemorte) (OED)

filemot to be.

E’ne ſoe Mans youth and

Physical Note

“a” appears added later

beauty doth decay

E’en so, man’s youth and beauty doth decay,

E’en so man’s youth and beauty doth decay;

Physical Note

His heat and Moisture Cooles and dries to clay

His heat and moisture cools and

Critical Note

See note in line 2 on “clay.” Heat and moisture were chief properties of the body, as understood in classical humoral physiology.

dries to clay.

His

Gloss Note

according to early modern humoural theory, these were two of the four qualities of the humoural body

heat and moisture cools and dries to clay.

The stately Cedar that aſpires ſoe High

The stately

Critical Note

cedar that aspires so high,

The stately

Critical Note

In the Bible, the cedar is associated with great stature. See, for example, Amos 2:9 and Ezekiel 31:3-5.

cedar that aspires so high,

Scorning the cloudes threatning to Scale the Skie

Scorning the clouds, threat’ning to scale the sky,

ffor all her pride a kernill was her birth

For all her pride, a

Gloss Note

seed

kernel was her birth,

For all her pride, a kernel was her birth,

Which Shewes at last ſhee must returne to Earth

Which shows, at last, she must return to earth.

Which shows at last she must return to earth;

Though she the living kill and dead

Critical Note

protect; keep alive, retain; cedar oil was used in ancient Egypt to embalm corpses

preserve,

Physical Note

Lines 27-30 have been added, in the margin, in the hand likely to be Pulter’s own. Their position for insertion is indicated with a small “x” above “So” at the beginning of line 31.

Though she the living kill and dead preserve,

Yet can she not from death herself reserve.

The

Gloss Note

tree associated with grieving

cypress that doth mourn for us in vain

The

Gloss Note

a tree traditionally associated with death and mourning (OED 1c).

cypress that doth mourn for us in vain

Shall be cut down and never sprout again.

Physical Note

“x” appears keyed to marginal note (see note 7)

Sxoe Man being tide to his Creatours lawes

So man, being tied to his Creator’s laws,

So man being tied to his creator’s laws

Must taste of Death and Shrinke unto his cauſe.

Must taste of death and shrink unto his cause.

Must taste of death and shrink unto his

Critical Note

See note to line 14.

cause.

The towering quick eyed Eagle that alone

The towering, quick-eyed eagle, that alone

The towering,

Critical Note

quick-eyed eagle that alone

Outfaces Phebus in his blazeing Throne

Gloss Note

boldly confronts, contradicts

Outfaces

Gloss Note

sun god

Phoebus in his blazing throne,

Outfaces

Gloss Note

Greek god of the sun

Phoebus in his blazing throne,

and

And by that tryall bastard Birds diſclaime

And, by that trial,

Critical Note

According to legend, the eagle tests her young by having them look directly into the sun; those who fail are cast out of the nest.

bastard birds disclaim,

And by that trial, bastard birds disclaim,

Scorning they should be honoured with her name

Scorning they should be honored with her name;

Scorning they should be honoured with her name;

Yet ſhee and her’s to dust must all Resolve

Yet she and hers to dust must all

Gloss Note

to dissolve or decompose; also with the connotation of bringing to a clear conclusion

resolve,

Yet she and hers to dust must all resolve,

And ſad obſcuritie must them involve.

And sad obscurity must them

Gloss Note

entangle, envelop

involve.

And sad obscurity must them involve.

Soe miſerable Man doth draw his breath:

So miserable man doth draw his breath

Twixt hope and feare then sinks into the Earth.

Twixt hope and fear, then sinks into the earth.

’Twixt hope and fear, then sinks into the earth.

The Phenix on her lofty Alter lies

The phoenix on her lofty altar lies

The

Critical Note

phoenix on her lofty altar lies

And Willingly a virgin victim dies

And willingly a

Gloss Note

pure, chaste

virgin victim dies;

And, willingly, a virgin victim dies,

Her Gold and purple Plums to Aſhes turns

Her gold and purple

Gloss Note

feathers

plumes to ashes turns

Her gold and purple plumes to ashes turns

As in her Aromatick Pier ſhee Burnes

As in her aromatic pyre

Critical Note

the phoenix, an Egyptian bird who burned in a sacrificial fire; a new phoenix was reborn from the ashes.

she burns.

As in her aromatic pyre she burns.

Soe Man that to eternitie

Physical Note

Final “e” imperfectly erased.

aſpires

So man, that to eternity aspires,

So man that to eternity aspires,

Conquer’d by Death into his Cauſe Retires

Conquered by death, into his cause retires.

Conquered by death, into his

Critical Note

See note to line 14.

cause retires.

The ſnowey Swan upon the[?] trembling brest,

The snowy swan upon the trembling breast

The snowy

Critical Note

swan upon the trembling breast

Of Silver Thames, how poore a time of Rest;

Of silver

Gloss Note

river in England

Thames—how poor a time of rest

Of silver Thames, how poor a time of rest

Shee doth injoy, Soone droops her Milke white wings:

She doth enjoy—soon droops her milk-white wings,

She doth enjoy, soon droops her milk-white wings,

While ſadly Shee her Epicedium Sing’s.

While sadly she her

Gloss Note

funeral ode

epicedium

Critical Note

According to Ovid, the swan sang only once, when dying.

sings.

While sadly she her

Gloss Note

funeral ode

epicedium sings.

Soe while man Strives t’eterniſe others glory:

So while man strives

Gloss Note

immortalize

t’eternize others’ glory,

So while man strives t’eternise others’ glory,

Conſpireing Death, and time, cuts of his Story.

Conspiring Death and Time cuts off

Gloss Note

life, account of life

his story.

Conspiring Death and Time

Physical Note

MS = “cuts”

cut off his story.

The Stag that trips it or’e the Laun in State:

The

Gloss Note

A male deer prances (“trips it”) in a prosperous condition (“in state”)

stag that trips it o’er the lawn in state,

The

Critical Note

stag that trips it o’er the lawn in state,

Scorning the ground is Subject unto fate.

Scorning the ground, is subject unto fate.

Even that brave heart which Blackmore once did hold

Even that brave

Gloss Note

deer

hart which

Gloss Note

a valley in southern England

Blackmore once did hold,

E’en that

Critical Note

brave hart which Blackmore once did hold,

Whose Snowey neck incircled was with gold;

Whose snowy neck encircled was with gold,

All Ages being deſired for Ceaſers ſake,

All ages being desired, for Caesar’s sake,

To ſpare his life when er’e they did him take:

To spare his life whene’er

Gloss Note

hunters

they did him

Critical Note

hunters throughout the ages were “desired” (here, required) to spare the deer’s life, out of respect for Caesar; Caesar’s deer reputedly lived for centuries.

take;

To spare his life whene’er they did him take,

but yet for all this Conquering Kings deſire,

But yet, for all this conquering king’s desire,

But yet for all this conquering king’s desire,

In teares hee did his vitall breath expire.

In tears

Gloss Note

the deer

he did his vital breath

Critical Note

expire.

In tears he did his vital breath expire.

Soe Man that enter’s in’s ſad Mothers fear’s:

So man, that enters

Gloss Note

in his

in’s sad mother’s fears,

So man that enters in’s sad mother’s fears

As he begins, his Exit makes in teares.

As he begins, his exit makes: in tears.

As he begins, his exit makes in tears.

That beast which

Physical Note

corrected over “poiſoning”

poiſoned Waters

Physical Note

“k” written over earlier letter (possibly “ſ”), imperfectly erased with descender visible.

drink’s with Scorn,

That beast which poisoned waters drinks with scorn,

Gloss Note

the unicorn, whose horns were believed to have the power to purify water

That beast which poisoned waters drinks with scorn

Becauſe ſhee weares a Cordiall in her horne:

Because she wears a

Gloss Note

restorative medicine

cordial in

Gloss Note

The unicorn’s horn granted it the power to purify toxic waters.

her horn,

Because she wears a cordial in her horn,

ffrom putrefaction ſhee her being drew

From

Gloss Note

rottenness, decay

putrefaction she her

Critical Note

Aristotle posited that some life forms arose spontaneously from rotting matter.

being drew;

From putrefaction she her

Critical Note

being drew;

Corruption then at least will haue his due.

Corruption, then, at

Physical Note

“least” in the manuscript

last, will have his due.

Corruption then at least will have his due.

Soe Man (a las) no cure can find in Death

So man (alas) no cure can find in death,

When he that gave it takes away his breath

When He that gave it takes away

Gloss Note

man’s

his breath.

When he that gave it takes away his breath.

The King of Beasts that doth the forrest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

And at his pleaſure doth his paſture Change:

And, at his pleasure, doth his pasture change,

And at his pleasure doth his pasture change,

and

And (like our Hidra) makes his will his laws

And (like

Critical Note

here, Pulter’s view of the tyranny of the commonwealth government, derived from the multi-headed mythological water snake killed by Hercules; when one head was struck off, two shot up in its place.

our Hydra) makes his will his laws,

And, like our

Critical Note

Hydra, makes his will his laws,

Tearing his vaſſals w:th his Cruill clawes

Tearing his

Gloss Note

subordinates, slaves

vassals with his cruel claws,

Tearing his vassals with his cruel claws;

As other creatures hath his Terrour felt

As other creatures hath his terror felt,

Soe Death will doe by him as he hath dealt

So Death will do by him, as he hath dealt.

So death will do by him as he hath dealt.

Soe domineering Man his Trophis must

So domineering man, his

Gloss Note

victories, tokens of victory

trophies must

So domineering man, his trophies must

Ere long bee read and ſeene in Nought but dust

Ere long be

Gloss Note

discerned, interpreted

read and seen in naught but dust.

Ere long be read and seen in nought but dust.

That huge Laviathan that playes and sportes

That huge

Gloss Note

enormous sea creature, whale

leviathan that plays and sports

That huge

Critical Note

leviathan that plays and sports

And makes mad Reax in Neptunes Azure courts

And

Gloss Note

undertakes pranks (“reaks”) in the Roman god of water’s (“Neptune’s”) blue (“azure”) waves

makes mad reaks in Neptune’s azure courts,

And makes mad

Gloss Note

pranks, playful tricks.

rex in

Gloss Note

Roman god of the sea.

Neptune’s azure courts,

Even he whose fellow was by fates direction

E’en he, whose

Gloss Note

kin

fellow was, by fate’s direction,

E’en he whose fellow was

Critical Note

by Fate’s direction

ffain’d to be powd’rd gainst the Reſurrection

Gloss Note

imagined

Feigned to be

Critical Note

powdered ’gainst the Resurrection,

Gloss Note

fabled

Feigned to be

Gloss Note

salted, pickled for future use; preserved.

powdered

Gloss Note

in preparation for.

’gainst the resurrection,

That

Physical Note

end of word unclear, with apparently later addition of what looks like “a”, possibly part of malformed “n”

ſom[?] of Pride on the forſaken Shores

That

Critical Note

See Job 41:33-34, referring to the leviathan or whale: “Upon earth there is not his like, who is made without fear. / He beholdeth all high things: he is a king over all the children of pride.”

son of pride on the forsaken shores,

That

Critical Note

the whale, described in the Bible as “a king over all the children of pride” (Job 41:34). See also Pulter’s This Vast Leviathan" (Emblem 12) [Poem 78], line 9.

son of Pride on the forsaken shores,

Out of his Eliment his life out Rores

Out of his element, his life

Gloss Note

drowns out, throws into confusion

outroars.

Out of his element his life

Critical Note

out roars.

Soe Man though hee all Creatures elce tranſcend

So man, though he all creatures else transcend

So man, though he all creatures else transcend,

In Sighs and Groanes, (ah mee) his life must end

In sighs and groans (ah me!), his life must end.

In sighs and groans (ah me) his life must end.

The Swiftest Creature that’s below the Moone

The

Gloss Note

dolphin

swiftest creature that’s below the moon,

The

Gloss Note

the dolphin

swiftest creature that’s below the moon,

Which ſav’d Orions life (alas) how ſoone

Critical Note

Arion, a musician/poet in ancient Greece who was kidnapped by pirates and rescued by dolphins

Which saved Arion’s life (alas), how soon

Which saved

Critical Note

Arion’s life, alas how

Physical Note

soon

Her Race will

Physical Note

“e” or “ev,” scribbled out

[ev] end even in A little time

Her

Gloss Note

voyage or progress through life; contest of speed; also, species

race will end; even in a little time

Her race will end; e’en in a little time

Shee must returne againe to dirt or Slime

She must return again to dirt or slime.

Soe Man his Destinie can ner’e out run

So man, his destiny can ne’er outrun,

So man his destiny can ne’er outrun;

The cruell Parce cuts, Mans life is dun

The cruel

Gloss Note

three Fates who determine length of human lives by cutting threads

Parcae cuts: man’s life is done.

The cruel

Gloss Note

in Roman mythology, the three Fates, usually depicted as three women who draw forth, measure out, and cut the threads of human life.

Parcae

Physical Note

MS = “cuts”

cut, man’s life is done.

The little Remmora that nere will fayle

The little

Gloss Note

suckerfish that can attach to anything in the water and, in legends, could impede their movement; obstacle

remora that ne’er will fail

The little

Critical Note

remora that ne’er will fail

To stop the Proudest Ship thats under Sayle

To stop the proudest ship that’s under sail,

When Death doth summon her Shee must away

When Death doth summon her, she must away;

When Death doth summon her she must away;

ffor all her Art Shee cant make time to Stay

For all her art, she can’t make time to

Gloss Note

halt, support

stay.

For all her art she can’t make time to stay.

So Man that Strives to blurr anothers fame

So man, that strives to

Gloss Note

blemish

blur another’s fame,

So man that strives to blur another’s fame,

Death comes the while and blots out his own name

Death comes the

Gloss Note

meanwhile

while and

Gloss Note

stains, disfigures in ink

blots out his own name.

Death comes the while and blots out his own name.

thoſe

Those Cittyes that the Orient kingdoomes gracest

Those cities that the

Gloss Note

eastern

orient kingdoms

Gloss Note

honors

gracest,

Those cities that the orient kingdoms gracest,

Beneath theere Ruins (Sadly) li’es defacest

Beneath their ruins (sadly) lies defacest:

Beneath their ruins, sadly, lies defacest,

As Ninnivie Perſepoles, the faire

Gloss Note

Such as

As Nineveh, Persepolis the fair,

Gloss Note

an ancient Assyrian city founded by Nimrod (Genesis 10:11).

Nineveh,

Gloss Note

the ceremonial capital of the Achaemenid Empire, in ancient Persia.

Persepolis the fair,

100

And Babilon (Soe famous) all deſpaire

And

Critical Note

Babylon, in ancient Mesopotamia (now Iraq), like Nineveh, in Assyria (now Iraq) and Persepolis, in ancient Persia (now Iran), referred to in the previous line, were ancient towns that were destroyed

Babylon (so famous!), all despair

And

Gloss Note

ancient city on the River Euphrates, in Mesopotamia, famous for its monumental buildings and hanging gardens

Babylon so famous, all despair

101

Of ever being Reſtored againe, and now

Of ever being restored again; and now

Of ever being restored again, and now

102

Wee ſee that all to time and fate muſt bow

We see that all to time and fate must bow.

103

Soe wretched Man whoſe Structure is of dust

So wretched man, whose structure is of

Critical Note

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.”

dust,

So wretched man, whose structure is of dust,

104

After his periods past he moulder must

After his

Gloss Note

time’s

period’s past, he

Gloss Note

disintegrate

molder must,

After his period’s past, he moulder must,

105

And this our Globe of Earth er’e long Shall burn

And this, our globe of earth,

Gloss Note

before

ere long shall burn,

And this our globe of earth ere long shall burn

106

And all her pomp and Pride to ^Cinders Ashes turn

And all her pomp and pride to

Physical Note

The manuscript reads “ashes,” with “cinders” inserted above by the main scribe; given the poem’s meter, it seems likely that the scribe omitted to strike out “ashes” after replacing it.

cinders

Gloss Note

transform, return

turn.

And all her pomp and pride to

Physical Note

The scribe has added “cinders” above this word; a caret indicates the insertion, but “ashes” has not been scored out, and no priority has been indicated between the two alternatives.

ashes turn.

107

Then my impatiant Soule what cans’t thou Say

Then, my impatient soul, what canst thou say,

108

Seeing all Sublunary things decay

Seeing all

Gloss Note

earthly (beneath the moon), minor

sublunary things decay?

Seeing all

Gloss Note

beneath the moon; i.e. earthly, belonging to this world

sublunary things decay?

109

Nay mark Aurora in her youthfull pride

Nay, mark

Gloss Note

goddess of dawn

Aurora, in her youthful pride,

Nay, mark

Gloss Note

Roman goddess of the dawn (and the subject of several poems by Pulter)

Aurora in her youthful pride,

110

Her purple Curtains newly drawn aſide

Her purple curtains newly drawn aside,

111

As when her bleſſed Infant Shee brought forth

As when her blesséd infant she brought forth,

As when her blessed infant she brought forth,

112

The faire Astrea of unparreld worth

The fair

Critical Note

goddess of justice, whom Pulter identifies as well with truth; daughter of Aurora

Astraea of unparalleled worth.

The fair

Gloss Note

in Roman mythology, daughter of Aurora and Astraeus, and the goddess of truth or justice.

Astraea of

Gloss Note

unparalleled, a contraction common in Pulter’s poems.

unparalled worth.

113

Bright is the one but brighter is the other

Bright is the one, but brighter is the other;

114

The Daughter infinitely excels the Mother

The daughter infinitely excels the mother.

115

Light from mine eyes I wiſh may never part

Light from mine eyes, I wish may never part,

Light from mine eyes I wish may never part,

116

But thou Sweete Truth Shalt harbor in my heart

But thou, sweet Truth, shalt harbor in my heart.

But thou, sweet Truth, shalt harbour in my heart;

117

Yet this most glorious Creature light Soone fades

Yet this most glorious creature, Light, soon fades

118

And is inveloped in nights darke Shades

And is enveloped in night’s dark shades.

119

Soe though Mans Soule’s a beame of Heavenly light

So though man’s soul’s a beam of heavenly light,

So, though man’s soul’s a beam of heavenly light,

120

Yet must his body Sleepe in Death and Night

Yet must his body sleep in death and night.

121

Nay Cinthias borrowed Splenden~~cen~~cie Shall ceaſe

Nay,

Gloss Note

the moon’s

Cynthia’s borrowed

Gloss Note

splendor

splendency shall cease,

Nay,

Gloss Note

an epithet of Artemis, the Greek goddess of the moon.

Cynthia’s

Gloss Note

the moon reflects the light of the sun

borrowed splendency shall cease,

122

And Shee Shall leave to wane and to increase

And she shall

Gloss Note

cease

leave to wane and to increase;

And she shall

Gloss Note

cease

leave to wane and to increase,

nor

123

Nor shall her changes make

Physical Note

“our” appears above “o:r” (which has superscript “r”); insertions appear to be in two hands, each different from main scribe

^o:r our Ocean Riſe

Nor shall her changes make our ocean rise

124

Or fall, or her Sad influence cloſe our eyes

Or fall, or her sad influence close our eyes.

125

Hers and her Brothers firery Shafts noe more

Hers and

Gloss Note

Apollo’s (the sun god’s)

her brother’s fiery shafts no more

Gloss Note

MS = Hers. The fiery shafts of Artemis, and her brother Apollo, the Greek god of the sun

Her and her brother’s fiery shafts no more

126

Shall make poore Niobies theire loſs deplore

Shall make poor

Critical Note

Niobes their loss deplore.

Shall make poor

Critical Note

Niobes their loss deplore.

127

The glittering harbinger of Cheerfull Day

The glitt’ring

Gloss Note

forerunner

harbinger of

Gloss Note

Aurora, goddess of dawn

cheerful day,

The

Gloss Note

Aurora, goddess of the dawn (harbinger: one that goes before)

glittering harbinger of cheerful day

128

That leads the Sable Empris on her way

That leads the

Gloss Note

Night

sable Empress on her way,

That leads the

Gloss Note

night

sable empress on her way,

129

Bearing a Torch her Ebone Coach beſide

Bearing a torch her

Gloss Note

black

ebon coach beside,

Bearing a torch, her

Gloss Note

i.e. ebony (black)

ebon coach beside,

130

As shee Triumphant round our Orb doth ride

As she, triumphant, round

Gloss Note

Earth

our orb doth ride,

As she triumphant round our orb doth ride,

131

E’ne Shee

Physical Note

strike-through of complete word, starting “A” and ending “ſed”

[?] shall bee \

Physical Note

written in hand H2

amaz’d \ and lose her way

E’en she shall be

Gloss Note

bewildered, astonished

amazed and lose her way,

Physical Note

E’en she shall be

Gloss Note

bewildered, confounded, perplexed; also terror-stricken (OED 2 and 3)

amazed, and lose her way,

132

Not able to conduct the Night or Day

Not able to conduct the night or day.

133

Nor Shall that Slie the^ife, Hermes, ever keepe

Nor shall that sly thief Hermes ever

Gloss Note

confine himself, remain

keep,

Nor shall that sly thief,

Critical Note

Hermes, ever keep

134

Behind the illuſtrious Sun beams playing bopeep

Behind th’illustrious sun beams, playing bo peep;

Behind th’illustrious sunbeams, playing bo-peep;

135

His light shall bee obſcured noe more with light

His light shall be obscured no more with light,

136

But all his Knaveries Shall come in Sight

But all his

Gloss Note

mischiefs

knaveries shall

Critical Note

Hermes, or Mercury, is both the trickster messenger god and the planet Mercury, which is hidden by the sun, seeming to play a nursery game of hide and seek.

come in sight.

But all his

Gloss Note

trickeries

knaveries shall come in sight.

137

The ffount and Center of all Light the Sun

The

Gloss Note

source, fountain

fount and center of all light, the sun,

The fount and centre of all light, the sun,

138

Round whom

Physical Note

“w” possibly corrected to “t” in different hand from main scribe

whoſe Orbs perpetually doe run

Round whom those

Gloss Note

planets

orbs perpetually do run,

Round whom

Physical Note

Originally “whose”, the word may have been corrected, through an adjustment of the “w”, to “those” (a better word here).

those orbs perpetually do run,

139

Shall all his influence and ^light contract

Shall all his influence and light contract,

140

Which will Amazed Nature quite diſtract

Which will amazéd Nature quite distract.

Which will

Gloss Note

see note to line 131; or here, perhaps, lost in wonder and astonishment (OED 4)

amazèd Nature quite distract.

141

Auſpitious Jupiter poore Mortals friend

Critical Note

Auspicious Jupiter, poor mortal’s friend,

Critical Note

Jupiter is the largest planet in the solar system and the supreme Roman god. In astrological terms, the planet is “auspicious”, a sign that good things will happen.

Auspicious Jupiter, poor mortals’ friend,

142

His mild Aspect to earth noe more Shall Send

His mild aspect to earth no more shall send.

His mild aspect to earth no more shall send;

143

ffierce

Physical Note

imperfectly blotted “e” afterward

Mars his flagrant rapeire Shall put up

Fierce

Gloss Note

god of war

Mars his

Gloss Note

blazing sword

flagrant rapier shall put up,

Gloss Note

the planet associated with the god of war.

Fierce Mars, his

Gloss Note

blazing, burning sword.

flagrant rapier shall

Gloss Note

lay aside.

put up,

144

Seing totall Nature drinks the Selfe Same cup

Seeing total Nature drinks the

Gloss Note

identical

selfsame cup

Seeing total Nature drinks the self-same cup;

145

And that Malignant Melancholy Star

And that

Gloss Note

Saturn

malignant, melancholy star

And that

Gloss Note

Saturn, which has a long astrological association with melancholy

malignant, melancholy star

146

That to doe miſchiefe could diſcerne ſoe fare

That, to do mischief, could

Gloss Note

see, perceive

discern so far

That, to do mischief, could discern so far

147

As sweete

Physical Note

“ni” overwrites an unknown letter

Hibernie Where

Physical Note

appears crowded between surrounding words

I first had life

As sweet

Gloss Note

classical name for Ireland

Hibernie where I

Critical Note

Pulter was born outside of Dublin.

first had life,

As sweet

Critical Note

Hibernie, where I first had life,

148

Now quite destroyed by Atropus Keene Knife

Now quite destroyed by

Gloss Note

one of the three Fates’

Atropos’s

Gloss Note

sharp

keen knife.

Now quite destroyed by

Gloss Note

one of the three Fates (or Parcae, line 90), she who cuts the thread of mortal life

Atropos’ keen knife.

149

Ah cruell stars not mee alone anoy

Ah, cruel stars, not me alone annoy,

Ah, cruel stars not me alone annoy,

150

But my poore Countrey too they must destroy

But my poor country too,

Gloss Note

the stars

they must destroy.

But my poor country, too, they must destroy!

151

But those conjunctions too er’e long Shall ceaſe

But those

Gloss Note

alignments of the stars

conjunctions too ere long shall cease;

But those

Gloss Note

alignments of the stars

conjunctions, too, ere long shall cease,

152

When

Physical Note

“A” overwrites “ſt”

Alls to Chaos turnd there will be peace

When all’s to chaos turned, there will be peace.

153

The Six proud Pleads Shall theire bevty hide

The six proud

Critical Note

Pleiades shall their beauty hide,

The

Critical Note

six proud Pleiads shall their beauty hide,

154

As well as Sissiphus his baſhfull Bride

As well as Sisyphus his bashful

Critical Note

bride.

As well as

Critical Note

Merope, the nearly invisible star in the Pleaides (see note above), who hides her face in shame at having married a mortal (Sisyphus), while all her sisters mated with gods

Sisyphus, his bashful bride;

155

Then Shall Orions Harpe noe Muſick make

Then shall

Critical Note

conflating Orion, a giant hunter turned into a constellation, with musician Arion (see note on Parcae)

Orion’s harp no music make,

Then shall

Critical Note

in Greek mythology, a giant and huntsman transformed at his death into a constellation of stars. Pulter here conflates him with the Greek lyric poet and harpist Arion (see note to line 86).

Orion’s harp no music make,

156

But ſuch as Shall the Stoutest Courage Shake

But such as shall the

Gloss Note

proudest, fiercest

stoutest courage shake.

But such as shall the stoutest courage shake;

157

Thoſe tender hearted Siſters Shall noe more

Those

Gloss Note

the Hyades (or the “rainers”), seven nymphs who wept at the death of their brother, Hyas, so much that Zeus turned then into a constellation, which appears in rainy seasons.

tenderhearted sisters shall no more

Those

Gloss Note

the Hyades, sisters in Greek mythology to the Pleiades and the Hesperides

tender-hearted sisters shall no more

158

Theire brother Hilas hasty fate deplore

Their brother Hyas’s hasty fate deplore,

Critical Note

Their brother Hyas’ hasty fate deplore,

159

Sho^wreing from theire Sad eyes Such floods of Rain

Showering from their sad eyes such floods of rain

Show’ring from their sad eyes such floods of rain

160

That oft the plowmans hopes and labour’s vaine

That oft the plowman’s hopes and labor’s vain.

That oft the plowman’s hopes and

Gloss Note

i.e. labour is

labour’s vain.

161

The Vulture that did Stop Mans high deſigne

The

Critical Note

constellation Lyra that shines from the sky and is represented as a bird, either eagle or vulture (Eardley); creature who gnawed on Prometheus’s liver

vulture that did stop man’s high design,

The

Gloss Note

one of two northern constellations, Lyra or Aquila

vulture that did stop man’s high design

162

Must stoope to fate and ceaſe to fly ^or

Physical Note

initial “a” scribbled out; “g” written over with “ſ”; “h” writes over another “a”, correcting “againe” to “ſhine”

[ag]ſhine

Must stoop to fate and cease to fly or shine.

Must stoop to fate and cease to fly or

Physical Note

amended from “again”, in the scribal hand

shine,

163

And all the Gems of Ariadnas Crown

And all the gems of

Critical Note

Abandoned by Theseus, after she helped him kill the Minotaur, Ariadne is transformed by Dionysius into a constellation crowned by seven stars.

Ariadne’s crown

And all the gems of

Gloss Note

in Greek mythology, a consort of Theseus and Dionysus, who transforms here into a constellation crowned by seven stars

Ariadne’s crown

164

Shall loſe theire (Sparkling) luster & drop down

Shall lose their sparkling luster and drop down.

Shall lose their sparkling lustre and drop down.

165

Nor Shall pale Aſaph evermore apeare

Nor shall pale

Gloss Note

comet visible every 400 years

Asoph evermore appear

Nor shall pale

Gloss Note

a comet thought to appear every 400 years.

Asoph

Gloss Note

for all future time

evermore appear

166

At the Revolving of fowre Hundred yeare

At the revolving of four hundred year;

At the revolving of four hundred year,

167

ffor though her abſence wee have long indur’d

For though her absence we have long endured,

168

Yet Shall Shee bee eternally obſcur’d

Yet shall she be eternally obscured.

169

Bold Syrius no more Shall Shew her face

Bold

Gloss Note

Dog Star, appearing in hot summer

Sirius no more shall show her face,

Bold

Gloss Note

the Dog Star, one of the brightest stars in the sky. In ancient times, the rising of the Dog Star was associated with the hottest, most sultry days of summer (“dog days”).

Sirius no more shall show her face,

170

As Shee doth uſe when Phebus is in place

As she doth use when Phoebus is in place.

As she

Gloss Note

usually does

doth use when

Gloss Note

the Greek god of the sun

Phoebus is in place,

171

But these and all the fixed Orbs of light

But these, and all the fixéd orbs of light,

But these and all the fixèd orbs of light

172

Shall bee involv’d once more in Horred night

Shall be involved once more in horrid night.

Shall be

Gloss Note

enveloped

involved once more in horrid night.

173

Like Robes the Elements Shall folded

Physical Note

corrected from “bee”

lie

Like robes, the

Critical Note

basic substances of which all material bodies are composed; in ancient philosophy, believed to be earth, water, air, and fire.

elements shall folded lie

Like robes, the elements shall folded lie

174

In the vast wardrope of eternitie

In the vast wardrobe of eternity.

175

Then my unſetled ſoule bee more reſolv’d

Then my unsettled soul, be more

Gloss Note

disintegrated; convinced

resolved,

Then my unsettled soul be more resolved,

176

Se’eing all this Univerſe must be diſſolv’d.

Seeing all this universe must be

Critical Note

See first note.

dissolved.

Seeing all this universe must be

Critical Note

See note to Title.

dissolved.

Notes: Amplified Edition

Title note

  Gloss note 

reduction to elements or atoms; disintegration; death

Title note

  Critical note 

  Editorial note 

Critical Note

  Headnote 

Line number 2

  Critical note 

the body. See Isaiah 64:8, “O Lord, thou art our father; we are the clay, and thou our potter”.

Line number 5

  Physical note 

The scribal hand has scored out “crystal” and inserted “bubbling”.

Line number 12

  Gloss note 

Line number 14

  Critical note 

Line number 15

  Gloss note 

the fundamental sources from which something proceeds, primary elements (OED I.1b and II.3b)

Line number 17

  Gloss note 

In ancient Greece and Rome, bay laurel wreaths were awarded as an emblem of military victory or of distinction in poetry.

Line number 18

  Physical note 

MS = Encircles

Line number 20

  Physical note 

Line number 20

  Gloss note 

the colour of a dead or faded leaf (from the French feuillemorte) (OED)

Line number 22

  Gloss note 

according to early modern humoural theory, these were two of the four qualities of the humoural body

Line number 23

  Critical note 

In the Bible, the cedar is associated with great stature. See, for example, Amos 2:9 and Ezekiel 31:3-5.

Line number 27

  Physical note 

Lines 27-30 have been added, in the margin, in the hand likely to be Pulter’s own. Their position for insertion is indicated with a small “x” above “So” at the beginning of line 31.

Line number 29

  Gloss note 

a tree traditionally associated with death and mourning (OED 1c).

Line number 32

  Critical note 

See note to line 14.

Line number 33

  Critical note 

Line number 34

  Gloss note 

Greek god of the sun

Line number 41

  Critical note 

Line number 46

  Critical note 

See note to line 14.

Line number 47

  Critical note 

Line number 50

  Gloss note 

funeral ode

Line number 52

  Physical note 

MS = “cuts”

Line number 53

  Critical note 

Line number 55

  Critical note 

Line number 63

  Gloss note 

the unicorn, whose horns were believed to have the power to purify water

Line number 65

  Critical note 

Line number 69

  Gloss note 

lion

Line number 71

  Critical note 

Line number 77

  Critical note 

Line number 78

  Gloss note 

pranks, playful tricks.

Line number 78

  Gloss note 

Roman god of the sea.

Line number 79

  Critical note 

Line number 80

  Gloss note 

fabled

Line number 80

  Gloss note 

salted, pickled for future use; preserved.

Line number 80

  Gloss note 

in preparation for.

Line number 81

  Critical note 

the whale, described in the Bible as “a king over all the children of pride” (Job 41:34). See also Pulter’s This Vast Leviathan" (Emblem 12) [Poem 78], line 9.

Line number 82

  Critical note 

Line number 85

  Gloss note 

the dolphin

Line number 86

  Critical note 

Line number 86

  Physical note 

Line number 90

  Gloss note 

in Roman mythology, the three Fates, usually depicted as three women who draw forth, measure out, and cut the threads of human life.

Line number 90

  Physical note 

MS = “cuts”

Line number 91

  Critical note 

Line number 99

  Gloss note 

an ancient Assyrian city founded by Nimrod (Genesis 10:11).

Line number 99

  Gloss note 

the ceremonial capital of the Achaemenid Empire, in ancient Persia.

Line number 100

  Gloss note 

ancient city on the River Euphrates, in Mesopotamia, famous for its monumental buildings and hanging gardens

Line number 106

  Physical note 

The scribe has added “cinders” above this word; a caret indicates the insertion, but “ashes” has not been scored out, and no priority has been indicated between the two alternatives.

Line number 108

  Gloss note 

beneath the moon; i.e. earthly, belonging to this world

Line number 109

  Gloss note 

Roman goddess of the dawn (and the subject of several poems by Pulter)

Line number 112

  Gloss note 

in Roman mythology, daughter of Aurora and Astraeus, and the goddess of truth or justice.

Line number 112

  Gloss note 

unparalleled, a contraction common in Pulter’s poems.

Line number 121

  Gloss note 

an epithet of Artemis, the Greek goddess of the moon.

Line number 121

  Gloss note 

the moon reflects the light of the sun

Line number 122

  Gloss note 

cease

Line number 125

  Gloss note 

MS = Hers. The fiery shafts of Artemis, and her brother Apollo, the Greek god of the sun

Line number 126

  Critical note 

Line number 127

  Gloss note 

Aurora, goddess of the dawn (harbinger: one that goes before)

Line number 128

  Gloss note 

night

Line number 129

  Gloss note 

i.e. ebony (black)

Line number 131

  Physical note 

Line number 131

  Gloss note 

bewildered, confounded, perplexed; also terror-stricken (OED 2 and 3)

Line number 133

  Critical note 

Line number 136

  Gloss note 

trickeries

Line number 138

  Physical note 

Originally “whose”, the word may have been corrected, through an adjustment of the “w”, to “those” (a better word here).

Line number 140

  Gloss note 

see note to line 131; or here, perhaps, lost in wonder and astonishment (OED 4)

Line number 141

  Critical note 

Jupiter is the largest planet in the solar system and the supreme Roman god. In astrological terms, the planet is “auspicious”, a sign that good things will happen.

Line number 143

  Gloss note 

the planet associated with the god of war.

Line number 143

  Gloss note 

blazing, burning sword.

Line number 143

  Gloss note 

lay aside.

Line number 145

  Gloss note 

Saturn, which has a long astrological association with melancholy

Line number 147

  Critical note 

Line number 148

  Gloss note 

one of the three Fates (or Parcae, line 90), she who cuts the thread of mortal life

Line number 151

  Gloss note 

alignments of the stars

Line number 153

  Critical note 

Line number 154

  Critical note 

Merope, the nearly invisible star in the Pleaides (see note above), who hides her face in shame at having married a mortal (Sisyphus), while all her sisters mated with gods

Line number 155

  Critical note 

in Greek mythology, a giant and huntsman transformed at his death into a constellation of stars. Pulter here conflates him with the Greek lyric poet and harpist Arion (see note to line 86).

Line number 157

  Gloss note 

the Hyades, sisters in Greek mythology to the Pleiades and the Hesperides

Line number 158

  Critical note 

Line number 160

  Gloss note 

i.e. labour is

Line number 161

  Gloss note 

one of two northern constellations, Lyra or Aquila

Line number 162

  Physical note 

amended from “again”, in the scribal hand

Line number 163

  Gloss note 

in Greek mythology, a consort of Theseus and Dionysus, who transforms here into a constellation crowned by seven stars

Line number 165

  Gloss note 

a comet thought to appear every 400 years.

Line number 165

  Gloss note 

for all future time

Line number 169

  Gloss note 

the Dog Star, one of the brightest stars in the sky. In ancient times, the rising of the Dog Star was associated with the hottest, most sultry days of summer (“dog days”).

Line number 170

  Gloss note 

usually does

Line number 170

  Gloss note 

the Greek god of the sun

Line number 172

  Gloss note 

enveloped

Line number 176

  Critical note 

See note to Title.

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Amplified Edition

Universall diſſolution made when I was with Child of my 15th Child

Physical Note

blotted with especially large blot on “John”; blot darker on facing page

my ſonne John I being every one thought in a Conſumption 1648

Gloss Note

Universal Dissolution, Made When I Was with Child, of my 15th Child,

Critical Note

This is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

my Son, John, I Being, Everyone Thought, in a

Critical Note

Consumption, 1648

Universal

Gloss Note

reduction to elements or atoms; disintegration; death

Dissolution, Made When I Was With Child of

Critical Note

My 15th Child (My Son John), I Being, Everyone Thought, in a Consumption, 1648

Critical Note

— Sarah C. E. Ross

My Soule why art thou ſad at the decay

My soul, why art thou sad at the decay

Of this fraile frame this feeble houſe of clay

Of this frail

Gloss Note

here, structure, physical body, constitution, arrangement; may also signify universe, heavens, earth, or any part of it.

frame, this feeble house of

Critical Note

body. See Isaiah 64:8: “O Lord, thou art our father; we are the clay, and thou our potter.”

clay?

Of this frail frame, this

Critical Note

the body. See Isaiah 64:8, “O Lord, thou art our father; we are the clay, and thou our potter”.

feeble house of clay?

What can be expected from the humble birth

Of this fraile ffabrick but to fall to Earth

Of this

Gloss Note

edifice, fabricated construction

frail fabric, but to fall to earth?

Of this frail fabric, but to fall to earth?

The ~~Cristall~~^bubling fountaine being by Nature led

The bubbling fountain, being by nature led,

The

Physical Note

The scribal hand has scored out “crystal” and inserted “bubbling”.

bubbling fountain, being by nature led,

Will riſe noe Higher then her Criſtall head

Will

Critical Note

proverbial: “no stream can rise higher than its source” (Eardley)

rise no higher than her crystal head;

Will rise no higher than her crystal head;

Though many Marble

Physical Note

or “Aquœducts”

Aquaducts it fill

Though many marble aqueducts it fill,

Yet in a conſtant level it runs ſtill

Yet in a constant level it runs still.

So Mortall Man even from his very birth

So mortal man, even from his very birth,

So mortal man, e’en from his very birth,

Runs weeping on, then creeps into the Earth

Runs weeping on, then creeps into the earth.

Thoſe gorgious flowers which the vallies Crown

Those gorgeous flowers which the valleys crown,

That by the impartiall Siths \

Physical Note

insertion written in hand H2.

man \ are moan down

That by the impartial

Gloss Note

mower who uses a sharp blade

scytheman are

Critical Note

mown down:

That by the impartial

Gloss Note

scytheman are mown down,

Trust mee they ſeeme to hang theire heads and weep

Trust me, they seem to hang their heads and weep,

Trust me they seem to hang their heads and weep

Cauſe in theire ca^uſes they ſoe ſoone muſt ſleep

’Cause, in their

Gloss Note

original, formative elements

causes, they so soon must sleep.

Critical Note

’Cause in their causes they so soon must sleep.

Soe man to his first Principles must turn

So man to his

Gloss Note

origins, constituent parts, primary propositions; in alchemy, the substances composing all matter (mercury, salt, and sulfur)

first principles must

Gloss Note

return; rotate; revolve; reverse course; become; make use of; change into

turn,

So man to his

Gloss Note

the fundamental sources from which something proceeds, primary elements (OED I.1b and II.3b)

first principles must turn

And take A Nap in Black oblivions Urn

And take a nap in black Oblivion’s urn.

And take a nap in black oblivion’s urn.

Triumphant Laurel whoſe unconquered bowes

Triumphant

Gloss Note

foliage of bay tree

laurel, whose unconquered boughs

Gloss Note

In ancient Greece and Rome, bay laurel wreaths were awarded as an emblem of military victory or of distinction in poetry.

Triumphant laurel, whose unconquered boughs

Encircles Poets, and the illustrious browes

Encircles poets’ and the illustrious brows

Physical Note

MS = Encircles

Encircle poets, and the illustrious brows

Of Emperours: how ſoone alaſs wee ſee

Critical Note

Wreaths of laurel were presented to victorious military leaders and poets in ancient Rome.

emperors: how soon, alas, we see

Of emperors: how soon, alas, we see

Her

Physical Note

virgint^virgin~~all~~ Leaves all

Physical Note

directly below “fieldemort” and “Fillimott” above its second half, both in different hand from main scribe

fieldemort withered^Fillimott to bee

Her

Physical Note

In the manuscript, various hands have inscribed this word differently so that it could be “virgin” (chaste), “virginal” (unsullied), or “verdant” (lushly green).

verdant leaves all withered

Gloss Note

brownish or yellowish color like that of a dead leaf, from the French “feuillemorte”

filemot to be.

Physical Note

Her verdant leaves all

Gloss Note

the colour of a dead or faded leaf (from the French feuillemorte) (OED)

filemot to be.

E’ne ſoe Mans youth and

Physical Note

“a” appears added later

beauty doth decay

E’en so, man’s youth and beauty doth decay,

E’en so man’s youth and beauty doth decay;

Physical Note

His heat and Moisture Cooles and dries to clay

His heat and moisture cools and

Critical Note

See note in line 2 on “clay.” Heat and moisture were chief properties of the body, as understood in classical humoral physiology.

dries to clay.

His

Gloss Note

according to early modern humoural theory, these were two of the four qualities of the humoural body

heat and moisture cools and dries to clay.

The stately Cedar that aſpires ſoe High

The stately

Critical Note

cedar that aspires so high,

The stately

Critical Note

In the Bible, the cedar is associated with great stature. See, for example, Amos 2:9 and Ezekiel 31:3-5.

cedar that aspires so high,

Scorning the cloudes threatning to Scale the Skie

Scorning the clouds, threat’ning to scale the sky,

ffor all her pride a kernill was her birth

For all her pride, a

Gloss Note

seed

kernel was her birth,

For all her pride, a kernel was her birth,

Which Shewes at last ſhee must returne to Earth

Which shows, at last, she must return to earth.

Which shows at last she must return to earth;

Though she the living kill and dead

Critical Note

protect; keep alive, retain; cedar oil was used in ancient Egypt to embalm corpses

preserve,

Physical Note

Lines 27-30 have been added, in the margin, in the hand likely to be Pulter’s own. Their position for insertion is indicated with a small “x” above “So” at the beginning of line 31.

Though she the living kill and dead preserve,

Yet can she not from death herself reserve.

The

Gloss Note

tree associated with grieving

cypress that doth mourn for us in vain

The

Gloss Note

a tree traditionally associated with death and mourning (OED 1c).

cypress that doth mourn for us in vain

Shall be cut down and never sprout again.

Physical Note

“x” appears keyed to marginal note (see note 7)

Sxoe Man being tide to his Creatours lawes

So man, being tied to his Creator’s laws,

So man being tied to his creator’s laws

Must taste of Death and Shrinke unto his cauſe.

Must taste of death and shrink unto his cause.

Must taste of death and shrink unto his

Critical Note

See note to line 14.

cause.

The towering quick eyed Eagle that alone

The towering, quick-eyed eagle, that alone

The towering,

Critical Note

quick-eyed eagle that alone

Outfaces Phebus in his blazeing Throne

Gloss Note

boldly confronts, contradicts

Outfaces

Gloss Note

sun god

Phoebus in his blazing throne,

Outfaces

Gloss Note

Greek god of the sun

Phoebus in his blazing throne,

and

And by that tryall bastard Birds diſclaime

And, by that trial,

Critical Note

According to legend, the eagle tests her young by having them look directly into the sun; those who fail are cast out of the nest.

bastard birds disclaim,

And by that trial, bastard birds disclaim,

Scorning they should be honoured with her name

Scorning they should be honored with her name;

Scorning they should be honoured with her name;

Yet ſhee and her’s to dust must all Resolve

Yet she and hers to dust must all

Gloss Note

to dissolve or decompose; also with the connotation of bringing to a clear conclusion

resolve,

Yet she and hers to dust must all resolve,

And ſad obſcuritie must them involve.

And sad obscurity must them

Gloss Note

entangle, envelop

involve.

And sad obscurity must them involve.

Soe miſerable Man doth draw his breath:

So miserable man doth draw his breath

Twixt hope and feare then sinks into the Earth.

Twixt hope and fear, then sinks into the earth.

’Twixt hope and fear, then sinks into the earth.

The Phenix on her lofty Alter lies

The phoenix on her lofty altar lies

The

Critical Note

phoenix on her lofty altar lies

And Willingly a virgin victim dies

And willingly a

Gloss Note

pure, chaste

virgin victim dies;

And, willingly, a virgin victim dies,

Her Gold and purple Plums to Aſhes turns

Her gold and purple

Gloss Note

feathers

plumes to ashes turns

Her gold and purple plumes to ashes turns

As in her Aromatick Pier ſhee Burnes

As in her aromatic pyre

Critical Note

the phoenix, an Egyptian bird who burned in a sacrificial fire; a new phoenix was reborn from the ashes.

she burns.

As in her aromatic pyre she burns.

Soe Man that to eternitie

Physical Note

Final “e” imperfectly erased.

aſpires

So man, that to eternity aspires,

So man that to eternity aspires,

Conquer’d by Death into his Cauſe Retires

Conquered by death, into his cause retires.

Conquered by death, into his

Critical Note

See note to line 14.

cause retires.

The ſnowey Swan upon the[?] trembling brest,

The snowy swan upon the trembling breast

The snowy

Critical Note

swan upon the trembling breast

Of Silver Thames, how poore a time of Rest;

Of silver

Gloss Note

river in England

Thames—how poor a time of rest

Of silver Thames, how poor a time of rest

Shee doth injoy, Soone droops her Milke white wings:

She doth enjoy—soon droops her milk-white wings,

She doth enjoy, soon droops her milk-white wings,

While ſadly Shee her Epicedium Sing’s.

While sadly she her

Gloss Note

funeral ode

epicedium

Critical Note

According to Ovid, the swan sang only once, when dying.

sings.

While sadly she her

Gloss Note

funeral ode

epicedium sings.

Soe while man Strives t’eterniſe others glory:

So while man strives

Gloss Note

immortalize

t’eternize others’ glory,

So while man strives t’eternise others’ glory,

Conſpireing Death, and time, cuts of his Story.

Conspiring Death and Time cuts off

Gloss Note

life, account of life

his story.

Conspiring Death and Time

Physical Note

MS = “cuts”

cut off his story.

The Stag that trips it or’e the Laun in State:

The

Gloss Note

A male deer prances (“trips it”) in a prosperous condition (“in state”)

stag that trips it o’er the lawn in state,

The

Critical Note

stag that trips it o’er the lawn in state,

Scorning the ground is Subject unto fate.

Scorning the ground, is subject unto fate.

Even that brave heart which Blackmore once did hold

Even that brave

Gloss Note

deer

hart which

Gloss Note

a valley in southern England

Blackmore once did hold,

E’en that

Critical Note

brave hart which Blackmore once did hold,

Whose Snowey neck incircled was with gold;

Whose snowy neck encircled was with gold,

All Ages being deſired for Ceaſers ſake,

All ages being desired, for Caesar’s sake,

To ſpare his life when er’e they did him take:

To spare his life whene’er

Gloss Note

hunters

they did him

Critical Note

hunters throughout the ages were “desired” (here, required) to spare the deer’s life, out of respect for Caesar; Caesar’s deer reputedly lived for centuries.

take;

To spare his life whene’er they did him take,

but yet for all this Conquering Kings deſire,

But yet, for all this conquering king’s desire,

But yet for all this conquering king’s desire,

In teares hee did his vitall breath expire.

In tears

Gloss Note

the deer

he did his vital breath

Critical Note

expire.

In tears he did his vital breath expire.

Soe Man that enter’s in’s ſad Mothers fear’s:

So man, that enters

Gloss Note

in his

in’s sad mother’s fears,

So man that enters in’s sad mother’s fears

As he begins, his Exit makes in teares.

As he begins, his exit makes: in tears.

As he begins, his exit makes in tears.

That beast which

Physical Note

corrected over “poiſoning”

poiſoned Waters

Physical Note

“k” written over earlier letter (possibly “ſ”), imperfectly erased with descender visible.

drink’s with Scorn,

That beast which poisoned waters drinks with scorn,

Gloss Note

the unicorn, whose horns were believed to have the power to purify water

That beast which poisoned waters drinks with scorn

Becauſe ſhee weares a Cordiall in her horne:

Because she wears a

Gloss Note

restorative medicine

cordial in

Gloss Note

The unicorn’s horn granted it the power to purify toxic waters.

her horn,

Because she wears a cordial in her horn,

ffrom putrefaction ſhee her being drew

From

Gloss Note

rottenness, decay

putrefaction she her

Critical Note

Aristotle posited that some life forms arose spontaneously from rotting matter.

being drew;

From putrefaction she her

Critical Note

being drew;

Corruption then at least will haue his due.

Corruption, then, at

Physical Note

“least” in the manuscript

last, will have his due.

Corruption then at least will have his due.

Soe Man (a las) no cure can find in Death

So man (alas) no cure can find in death,

When he that gave it takes away his breath

When He that gave it takes away

Gloss Note

man’s

his breath.

When he that gave it takes away his breath.

The King of Beasts that doth the forrest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

The

Gloss Note

lion

king of beasts that doth the forest range,

And at his pleaſure doth his paſture Change:

And, at his pleasure, doth his pasture change,

And at his pleasure doth his pasture change,

and

And (like our Hidra) makes his will his laws

And (like

Critical Note

here, Pulter’s view of the tyranny of the commonwealth government, derived from the multi-headed mythological water snake killed by Hercules; when one head was struck off, two shot up in its place.

our Hydra) makes his will his laws,

And, like our

Critical Note

Hydra, makes his will his laws,

Tearing his vaſſals w:th his Cruill clawes

Tearing his

Gloss Note

subordinates, slaves

vassals with his cruel claws,

Tearing his vassals with his cruel claws;

As other creatures hath his Terrour felt

As other creatures hath his terror felt,

Soe Death will doe by him as he hath dealt

So Death will do by him, as he hath dealt.

So death will do by him as he hath dealt.

Soe domineering Man his Trophis must

So domineering man, his

Gloss Note

victories, tokens of victory

trophies must

So domineering man, his trophies must

Ere long bee read and ſeene in Nought but dust

Ere long be

Gloss Note

discerned, interpreted

read and seen in naught but dust.

Ere long be read and seen in nought but dust.

That huge Laviathan that playes and sportes

That huge

Gloss Note

enormous sea creature, whale

leviathan that plays and sports

That huge

Critical Note

leviathan that plays and sports

And makes mad Reax in Neptunes Azure courts

And

Gloss Note

undertakes pranks (“reaks”) in the Roman god of water’s (“Neptune’s”) blue (“azure”) waves

makes mad reaks in Neptune’s azure courts,

And makes mad

Gloss Note

pranks, playful tricks.

rex in

Gloss Note

Roman god of the sea.

Neptune’s azure courts,

Even he whose fellow was by fates direction

E’en he, whose

Gloss Note

kin

fellow was, by fate’s direction,

E’en he whose fellow was

Critical Note

by Fate’s direction

ffain’d to be powd’rd gainst the Reſurrection

Gloss Note

imagined

Feigned to be

Critical Note

powdered ’gainst the Resurrection,

Gloss Note

fabled

Feigned to be

Gloss Note

salted, pickled for future use; preserved.

powdered

Gloss Note

in preparation for.

’gainst the resurrection,

That

Physical Note

end of word unclear, with apparently later addition of what looks like “a”, possibly part of malformed “n”

ſom[?] of Pride on the forſaken Shores

That

Critical Note

See Job 41:33-34, referring to the leviathan or whale: “Upon earth there is not his like, who is made without fear. / He beholdeth all high things: he is a king over all the children of pride.”

son of pride on the forsaken shores,

That

Critical Note

the whale, described in the Bible as “a king over all the children of pride” (Job 41:34). See also Pulter’s This Vast Leviathan" (Emblem 12) [Poem 78], line 9.

son of Pride on the forsaken shores,

Out of his Eliment his life out Rores

Out of his element, his life

Gloss Note

drowns out, throws into confusion

outroars.

Out of his element his life

Critical Note

out roars.

Soe Man though hee all Creatures elce tranſcend

So man, though he all creatures else transcend

So man, though he all creatures else transcend,

In Sighs and Groanes, (ah mee) his life must end

In sighs and groans (ah me!), his life must end.

In sighs and groans (ah me) his life must end.

The Swiftest Creature that’s below the Moone

The

Gloss Note

dolphin

swiftest creature that’s below the moon,

The

Gloss Note

the dolphin

swiftest creature that’s below the moon,

Which ſav’d Orions life (alas) how ſoone

Critical Note

Arion, a musician/poet in ancient Greece who was kidnapped by pirates and rescued by dolphins

Which saved Arion’s life (alas), how soon

Which saved

Critical Note

Arion’s life, alas how

Physical Note

soon

Her Race will

Physical Note

“e” or “ev,” scribbled out

[ev] end even in A little time

Her

Gloss Note

voyage or progress through life; contest of speed; also, species

race will end; even in a little time

Her race will end; e’en in a little time

Shee must returne againe to dirt or Slime

She must return again to dirt or slime.

Soe Man his Destinie can ner’e out run

So man, his destiny can ne’er outrun,

So man his destiny can ne’er outrun;

The cruell Parce cuts, Mans life is dun

The cruel

Gloss Note

three Fates who determine length of human lives by cutting threads

Parcae cuts: man’s life is done.

The cruel

Gloss Note

in Roman mythology, the three Fates, usually depicted as three women who draw forth, measure out, and cut the threads of human life.

Parcae

Physical Note

MS = “cuts”

cut, man’s life is done.

The little Remmora that nere will fayle

The little

Gloss Note

suckerfish that can attach to anything in the water and, in legends, could impede their movement; obstacle

remora that ne’er will fail

The little

Critical Note

remora that ne’er will fail

To stop the Proudest Ship thats under Sayle

To stop the proudest ship that’s under sail,

When Death doth summon her Shee must away

When Death doth summon her, she must away;

When Death doth summon her she must away;

ffor all her Art Shee cant make time to Stay

For all her art, she can’t make time to

Gloss Note

halt, support

stay.

For all her art she can’t make time to stay.

So Man that Strives to blurr anothers fame

So man, that strives to

Gloss Note

blemish

blur another’s fame,

So man that strives to blur another’s fame,

Death comes the while and blots out his own name

Death comes the

Gloss Note

meanwhile

while and

Gloss Note

stains, disfigures in ink

blots out his own name.

Death comes the while and blots out his own name.

thoſe

Those Cittyes that the Orient kingdoomes gracest

Those cities that the

Gloss Note

eastern

orient kingdoms

Gloss Note

honors

gracest,

Those cities that the orient kingdoms gracest,

Beneath theere Ruins (Sadly) li’es defacest

Beneath their ruins (sadly) lies defacest:

Beneath their ruins, sadly, lies defacest,

As Ninnivie Perſepoles, the faire

Gloss Note

Such as

As Nineveh, Persepolis the fair,

Gloss Note

an ancient Assyrian city founded by Nimrod (Genesis 10:11).

Nineveh,

Gloss Note

the ceremonial capital of the Achaemenid Empire, in ancient Persia.

Persepolis the fair,

100

And Babilon (Soe famous) all deſpaire

And

Critical Note

Babylon, in ancient Mesopotamia (now Iraq), like Nineveh, in Assyria (now Iraq) and Persepolis, in ancient Persia (now Iran), referred to in the previous line, were ancient towns that were destroyed

Babylon (so famous!), all despair

And

Gloss Note

ancient city on the River Euphrates, in Mesopotamia, famous for its monumental buildings and hanging gardens

Babylon so famous, all despair

101

Of ever being Reſtored againe, and now

Of ever being restored again; and now

Of ever being restored again, and now

102

Wee ſee that all to time and fate muſt bow

We see that all to time and fate must bow.

103

Soe wretched Man whoſe Structure is of dust

So wretched man, whose structure is of

Critical Note

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.”

dust,

So wretched man, whose structure is of dust,

104

After his periods past he moulder must

After his

Gloss Note

time’s

period’s past, he

Gloss Note

disintegrate

molder must,

After his period’s past, he moulder must,

105

And this our Globe of Earth er’e long Shall burn

And this, our globe of earth,

Gloss Note

before

ere long shall burn,

And this our globe of earth ere long shall burn

106

And all her pomp and Pride to ^Cinders Ashes turn

And all her pomp and pride to

Physical Note

The manuscript reads “ashes,” with “cinders” inserted above by the main scribe; given the poem’s meter, it seems likely that the scribe omitted to strike out “ashes” after replacing it.

cinders

Gloss Note

transform, return

turn.

And all her pomp and pride to

Physical Note

The scribe has added “cinders” above this word; a caret indicates the insertion, but “ashes” has not been scored out, and no priority has been indicated between the two alternatives.

ashes turn.

107

Then my impatiant Soule what cans’t thou Say

Then, my impatient soul, what canst thou say,

108

Seeing all Sublunary things decay

Seeing all

Gloss Note

earthly (beneath the moon), minor

sublunary things decay?

Seeing all

Gloss Note

beneath the moon; i.e. earthly, belonging to this world

sublunary things decay?

109

Nay mark Aurora in her youthfull pride

Nay, mark

Gloss Note

goddess of dawn

Aurora, in her youthful pride,

Nay, mark

Gloss Note

Roman goddess of the dawn (and the subject of several poems by Pulter)

Aurora in her youthful pride,

110

Her purple Curtains newly drawn aſide

Her purple curtains newly drawn aside,

111

As when her bleſſed Infant Shee brought forth

As when her blesséd infant she brought forth,

As when her blessed infant she brought forth,

112

The faire Astrea of unparreld worth

The fair

Critical Note

goddess of justice, whom Pulter identifies as well with truth; daughter of Aurora

Astraea of unparalleled worth.

The fair

Gloss Note

in Roman mythology, daughter of Aurora and Astraeus, and the goddess of truth or justice.

Astraea of

Gloss Note

unparalleled, a contraction common in Pulter’s poems.

unparalled worth.

113

Bright is the one but brighter is the other

Bright is the one, but brighter is the other;

114

The Daughter infinitely excels the Mother

The daughter infinitely excels the mother.

115

Light from mine eyes I wiſh may never part

Light from mine eyes, I wish may never part,

Light from mine eyes I wish may never part,

116

But thou Sweete Truth Shalt harbor in my heart

But thou, sweet Truth, shalt harbor in my heart.

But thou, sweet Truth, shalt harbour in my heart;

117

Yet this most glorious Creature light Soone fades

Yet this most glorious creature, Light, soon fades

118

And is inveloped in nights darke Shades

And is enveloped in night’s dark shades.

119

Soe though Mans Soule’s a beame of Heavenly light

So though man’s soul’s a beam of heavenly light,

So, though man’s soul’s a beam of heavenly light,

120

Yet must his body Sleepe in Death and Night

Yet must his body sleep in death and night.

121

Nay Cinthias borrowed Splenden~~cen~~cie Shall ceaſe

Nay,

Gloss Note

the moon’s

Cynthia’s borrowed

Gloss Note

splendor

splendency shall cease,

Nay,

Gloss Note

an epithet of Artemis, the Greek goddess of the moon.

Cynthia’s

Gloss Note

the moon reflects the light of the sun

borrowed splendency shall cease,

122

And Shee Shall leave to wane and to increase

And she shall

Gloss Note

cease

leave to wane and to increase;

And she shall

Gloss Note

cease

leave to wane and to increase,

nor

123

Nor shall her changes make

Physical Note

“our” appears above “o:r” (which has superscript “r”); insertions appear to be in two hands, each different from main scribe

^o:r our Ocean Riſe

Nor shall her changes make our ocean rise

124

Or fall, or her Sad influence cloſe our eyes

Or fall, or her sad influence close our eyes.

125

Hers and her Brothers firery Shafts noe more

Hers and

Gloss Note

Apollo’s (the sun god’s)

her brother’s fiery shafts no more

Gloss Note

MS = Hers. The fiery shafts of Artemis, and her brother Apollo, the Greek god of the sun

Her and her brother’s fiery shafts no more

126

Shall make poore Niobies theire loſs deplore

Shall make poor

Critical Note

Niobes their loss deplore.

Shall make poor

Critical Note

Niobes their loss deplore.

127

The glittering harbinger of Cheerfull Day

The glitt’ring

Gloss Note

forerunner

harbinger of

Gloss Note

Aurora, goddess of dawn

cheerful day,

The

Gloss Note

Aurora, goddess of the dawn (harbinger: one that goes before)

glittering harbinger of cheerful day

128

That leads the Sable Empris on her way

That leads the

Gloss Note

Night

sable Empress on her way,

That leads the

Gloss Note

night

sable empress on her way,

129

Bearing a Torch her Ebone Coach beſide

Bearing a torch her

Gloss Note

black

ebon coach beside,

Bearing a torch, her

Gloss Note

i.e. ebony (black)

ebon coach beside,

130

As shee Triumphant round our Orb doth ride

As she, triumphant, round

Gloss Note

Earth

our orb doth ride,

As she triumphant round our orb doth ride,

131

E’ne Shee

Physical Note

strike-through of complete word, starting “A” and ending “ſed”

[?] shall bee \

Physical Note

written in hand H2

amaz’d \ and lose her way

E’en she shall be

Gloss Note

bewildered, astonished

amazed and lose her way,

Physical Note

E’en she shall be

Gloss Note

bewildered, confounded, perplexed; also terror-stricken (OED 2 and 3)

amazed, and lose her way,

132

Not able to conduct the Night or Day

Not able to conduct the night or day.

133

Nor Shall that Slie the^ife, Hermes, ever keepe

Nor shall that sly thief Hermes ever

Gloss Note

confine himself, remain

keep,

Nor shall that sly thief,

Critical Note

Hermes, ever keep

134

Behind the illuſtrious Sun beams playing bopeep

Behind th’illustrious sun beams, playing bo peep;

Behind th’illustrious sunbeams, playing bo-peep;

135

His light shall bee obſcured noe more with light

His light shall be obscured no more with light,

136

But all his Knaveries Shall come in Sight

But all his

Gloss Note

mischiefs

knaveries shall

Critical Note

Hermes, or Mercury, is both the trickster messenger god and the planet Mercury, which is hidden by the sun, seeming to play a nursery game of hide and seek.

come in sight.

But all his

Gloss Note

trickeries

knaveries shall come in sight.

137

The ffount and Center of all Light the Sun

The

Gloss Note

source, fountain

fount and center of all light, the sun,

The fount and centre of all light, the sun,

138

Round whom

Physical Note

“w” possibly corrected to “t” in different hand from main scribe

whoſe Orbs perpetually doe run

Round whom those

Gloss Note

planets

orbs perpetually do run,

Round whom

Physical Note

Originally “whose”, the word may have been corrected, through an adjustment of the “w”, to “those” (a better word here).

those orbs perpetually do run,

139

Shall all his influence and ^light contract

Shall all his influence and light contract,

140

Which will Amazed Nature quite diſtract

Which will amazéd Nature quite distract.

Which will

Gloss Note

see note to line 131; or here, perhaps, lost in wonder and astonishment (OED 4)

amazèd Nature quite distract.

141

Auſpitious Jupiter poore Mortals friend

Critical Note

Auspicious Jupiter, poor mortal’s friend,

Critical Note

Jupiter is the largest planet in the solar system and the supreme Roman god. In astrological terms, the planet is “auspicious”, a sign that good things will happen.

Auspicious Jupiter, poor mortals’ friend,

142

His mild Aspect to earth noe more Shall Send

His mild aspect to earth no more shall send.

His mild aspect to earth no more shall send;

143

ffierce

Physical Note

imperfectly blotted “e” afterward

Mars his flagrant rapeire Shall put up

Fierce

Gloss Note

god of war

Mars his

Gloss Note

blazing sword

flagrant rapier shall put up,

Gloss Note

the planet associated with the god of war.

Fierce Mars, his

Gloss Note

blazing, burning sword.

flagrant rapier shall

Gloss Note

lay aside.

put up,

144

Seing totall Nature drinks the Selfe Same cup

Seeing total Nature drinks the

Gloss Note

identical

selfsame cup

Seeing total Nature drinks the self-same cup;

145

And that Malignant Melancholy Star

And that

Gloss Note

Saturn

malignant, melancholy star

And that

Gloss Note

Saturn, which has a long astrological association with melancholy

malignant, melancholy star

146

That to doe miſchiefe could diſcerne ſoe fare

That, to do mischief, could

Gloss Note

see, perceive

discern so far

That, to do mischief, could discern so far

147

As sweete

Physical Note

“ni” overwrites an unknown letter

Hibernie Where

Physical Note

appears crowded between surrounding words

I first had life

As sweet

Gloss Note

classical name for Ireland

Hibernie where I

Critical Note

Pulter was born outside of Dublin.

first had life,

As sweet

Critical Note

Hibernie, where I first had life,

148

Now quite destroyed by Atropus Keene Knife

Now quite destroyed by

Gloss Note

one of the three Fates’

Atropos’s

Gloss Note

sharp

keen knife.

Now quite destroyed by

Gloss Note

one of the three Fates (or Parcae, line 90), she who cuts the thread of mortal life

Atropos’ keen knife.

149

Ah cruell stars not mee alone anoy

Ah, cruel stars, not me alone annoy,

Ah, cruel stars not me alone annoy,

150

But my poore Countrey too they must destroy

But my poor country too,

Gloss Note

the stars

they must destroy.

But my poor country, too, they must destroy!

151

But those conjunctions too er’e long Shall ceaſe

But those

Gloss Note

alignments of the stars

conjunctions too ere long shall cease;

But those

Gloss Note

alignments of the stars

conjunctions, too, ere long shall cease,

152

When

Physical Note

“A” overwrites “ſt”

Alls to Chaos turnd there will be peace

When all’s to chaos turned, there will be peace.

153

The Six proud Pleads Shall theire bevty hide

The six proud

Critical Note

Pleiades shall their beauty hide,

The

Critical Note

six proud Pleiads shall their beauty hide,

154

As well as Sissiphus his baſhfull Bride

As well as Sisyphus his bashful

Critical Note

bride.

As well as

Critical Note

Merope, the nearly invisible star in the Pleaides (see note above), who hides her face in shame at having married a mortal (Sisyphus), while all her sisters mated with gods

Sisyphus, his bashful bride;

155

Then Shall Orions Harpe noe Muſick make

Then shall

Critical Note

conflating Orion, a giant hunter turned into a constellation, with musician Arion (see note on Parcae)

Orion’s harp no music make,

Then shall

Critical Note

in Greek mythology, a giant and huntsman transformed at his death into a constellation of stars. Pulter here conflates him with the Greek lyric poet and harpist Arion (see note to line 86).

Orion’s harp no music make,

156

But ſuch as Shall the Stoutest Courage Shake

But such as shall the

Gloss Note

proudest, fiercest

stoutest courage shake.

But such as shall the stoutest courage shake;

157

Thoſe tender hearted Siſters Shall noe more

Those

Gloss Note

the Hyades (or the “rainers”), seven nymphs who wept at the death of their brother, Hyas, so much that Zeus turned then into a constellation, which appears in rainy seasons.

tenderhearted sisters shall no more

Those

Gloss Note

the Hyades, sisters in Greek mythology to the Pleiades and the Hesperides

tender-hearted sisters shall no more

158

Theire brother Hilas hasty fate deplore

Their brother Hyas’s hasty fate deplore,

Critical Note

Their brother Hyas’ hasty fate deplore,

159

Sho^wreing from theire Sad eyes Such floods of Rain

Showering from their sad eyes such floods of rain

Show’ring from their sad eyes such floods of rain

160

That oft the plowmans hopes and labour’s vaine

That oft the plowman’s hopes and labor’s vain.

That oft the plowman’s hopes and

Gloss Note

i.e. labour is

labour’s vain.

161

The Vulture that did Stop Mans high deſigne

The

Critical Note

constellation Lyra that shines from the sky and is represented as a bird, either eagle or vulture (Eardley); creature who gnawed on Prometheus’s liver

vulture that did stop man’s high design,

The

Gloss Note

one of two northern constellations, Lyra or Aquila

vulture that did stop man’s high design

162

Must stoope to fate and ceaſe to fly ^or

Physical Note

initial “a” scribbled out; “g” written over with “ſ”; “h” writes over another “a”, correcting “againe” to “ſhine”

[ag]ſhine

Must stoop to fate and cease to fly or shine.

Must stoop to fate and cease to fly or

Physical Note

amended from “again”, in the scribal hand

shine,

163

And all the Gems of Ariadnas Crown

And all the gems of

Critical Note

Abandoned by Theseus, after she helped him kill the Minotaur, Ariadne is transformed by Dionysius into a constellation crowned by seven stars.

Ariadne’s crown

And all the gems of

Gloss Note

in Greek mythology, a consort of Theseus and Dionysus, who transforms here into a constellation crowned by seven stars

Ariadne’s crown

164

Shall loſe theire (Sparkling) luster & drop down

Shall lose their sparkling luster and drop down.

Shall lose their sparkling lustre and drop down.

165

Nor Shall pale Aſaph evermore apeare

Nor shall pale

Gloss Note

comet visible every 400 years

Asoph evermore appear

Nor shall pale

Gloss Note

a comet thought to appear every 400 years.

Asoph

Gloss Note

for all future time

evermore appear

166

At the Revolving of fowre Hundred yeare

At the revolving of four hundred year;

At the revolving of four hundred year,

167

ffor though her abſence wee have long indur’d

For though her absence we have long endured,

168

Yet Shall Shee bee eternally obſcur’d

Yet shall she be eternally obscured.

169

Bold Syrius no more Shall Shew her face

Bold

Gloss Note

Dog Star, appearing in hot summer

Sirius no more shall show her face,

Bold

Gloss Note

the Dog Star, one of the brightest stars in the sky. In ancient times, the rising of the Dog Star was associated with the hottest, most sultry days of summer (“dog days”).

Sirius no more shall show her face,

170

As Shee doth uſe when Phebus is in place

As she doth use when Phoebus is in place.

As she

Gloss Note

usually does

doth use when

Gloss Note

the Greek god of the sun

Phoebus is in place,

171

But these and all the fixed Orbs of light

But these, and all the fixéd orbs of light,

But these and all the fixèd orbs of light

172

Shall bee involv’d once more in Horred night

Shall be involved once more in horrid night.

Shall be

Gloss Note

enveloped

involved once more in horrid night.

173

Like Robes the Elements Shall folded

Physical Note

corrected from “bee”

lie

Like robes, the

Critical Note

basic substances of which all material bodies are composed; in ancient philosophy, believed to be earth, water, air, and fire.

elements shall folded lie

Like robes, the elements shall folded lie

174

In the vast wardrope of eternitie

In the vast wardrobe of eternity.

175

Then my unſetled ſoule bee more reſolv’d

Then my unsettled soul, be more

Gloss Note

disintegrated; convinced

resolved,

Then my unsettled soul be more resolved,

176

Se’eing all this Univerſe must be diſſolv’d.

Seeing all this universe must be

Critical Note

See first note.

dissolved.

Seeing all this universe must be

Critical Note

See note to Title.

dissolved.

All Notes

Transcription

Title note

  Physical note 

blotted with especially large blot on “John”; blot darker on facing page

Elemental Edition

Title note

  Gloss note 

Elemental Edition

Title note

  Critical note 

This is an insertion into the title, in the hand likely to be Pulter’s own. The insertion is indicated by a caret and obscured by an ink blot.

Elemental Edition

Title note

  Critical note 

Amplified Edition

Title note

  Gloss note 

reduction to elements or atoms; disintegration; death

Amplified Edition

Title note

  Critical note 

Transcription

  Editorial note 

Elemental Edition

  Editorial note 

Amplified Edition

  Editorial note 

Critical Note

Elemental Edition

  Headnote 

Amplified Edition

  Headnote 

Elemental Edition

Line number 2

  Gloss note 

here, structure, physical body, constitution, arrangement; may also signify universe, heavens, earth, or any part of it.

Elemental Edition

Line number 2

  Critical note 

body. See Isaiah 64:8: “O Lord, thou art our father; we are the clay, and thou our potter.”

Amplified Edition

Line number 2

  Critical note 

the body. See Isaiah 64:8, “O Lord, thou art our father; we are the clay, and thou our potter”.

Elemental Edition

Line number 4

  Gloss note 

edifice, fabricated construction

Amplified Edition

Line number 5

  Physical note 

The scribal hand has scored out “crystal” and inserted “bubbling”.

Elemental Edition

Line number 6

  Critical note 

proverbial: “no stream can rise higher than its source” (Eardley)

Transcription

Line number 7

  Physical note 

or “Aquœducts”

Transcription

Line number 12

  Physical note 

insertion written in hand H2.

Elemental Edition

Line number 12

  Gloss note 

mower who uses a sharp blade

Elemental Edition

Line number 12

  Critical note 

Amplified Edition

Line number 12

  Gloss note 

Elemental Edition

Line number 14

  Gloss note 

original, formative elements

Amplified Edition

Line number 14

  Critical note 

Elemental Edition

Line number 15

  Gloss note 

origins, constituent parts, primary propositions; in alchemy, the substances composing all matter (mercury, salt, and sulfur)

Elemental Edition

Line number 15

  Gloss note 

return; rotate; revolve; reverse course; become; make use of; change into

Amplified Edition

Line number 15

  Gloss note 

the fundamental sources from which something proceeds, primary elements (OED I.1b and II.3b)

Elemental Edition

Line number 17

  Gloss note 

foliage of bay tree

Amplified Edition

Line number 17

  Gloss note 

In ancient Greece and Rome, bay laurel wreaths were awarded as an emblem of military victory or of distinction in poetry.

Amplified Edition

Line number 18

  Physical note 

MS = Encircles

Elemental Edition

Line number 19

  Critical note 

Wreaths of laurel were presented to victorious military leaders and poets in ancient Rome.

Transcription

Line number 20

  Physical note 

Transcription

Line number 20

  Physical note 

directly below “fieldemort” and “Fillimott” above its second half, both in different hand from main scribe

Elemental Edition

Line number 20

  Physical note 

In the manuscript, various hands have inscribed this word differently so that it could be “virgin” (chaste), “virginal” (unsullied), or “verdant” (lushly green).

Elemental Edition

Line number 20

  Gloss note 

brownish or yellowish color like that of a dead leaf, from the French “feuillemorte”

Amplified Edition

Line number 20

  Physical note 

Amplified Edition

Line number 20

  Gloss note 

the colour of a dead or faded leaf (from the French feuillemorte) (OED)

Transcription

Line number 21

  Physical note 

“a” appears added later

Transcription

Line number 22

  Physical note 

Elemental Edition

Line number 22

  Critical note 

See note in line 2 on “clay.” Heat and moisture were chief properties of the body, as understood in classical humoral physiology.

Amplified Edition

Line number 22

  Gloss note 

according to early modern humoural theory, these were two of the four qualities of the humoural body

Elemental Edition

Line number 23

  Critical note 

Amplified Edition

Line number 23

  Critical note 

In the Bible, the cedar is associated with great stature. See, for example, Amos 2:9 and Ezekiel 31:3-5.

Elemental Edition

Line number 25

  Gloss note 

seed

Elemental Edition

Line number 27

  Critical note 

protect; keep alive, retain; cedar oil was used in ancient Egypt to embalm corpses

Amplified Edition

Line number 27

  Physical note 

Lines 27-30 have been added, in the margin, in the hand likely to be Pulter’s own. Their position for insertion is indicated with a small “x” above “So” at the beginning of line 31.

Elemental Edition

Line number 29

  Gloss note 

tree associated with grieving

Amplified Edition

Line number 29

  Gloss note 

a tree traditionally associated with death and mourning (OED 1c).

Transcription

Line number 31

  Physical note 

“x” appears keyed to marginal note (see note 7)

Amplified Edition

Line number 32

  Critical note 

See note to line 14.

Amplified Edition

Line number 33

  Critical note 

Elemental Edition

Line number 34

  Gloss note 

boldly confronts, contradicts

Elemental Edition

Line number 34

  Gloss note 

sun god

Amplified Edition

Line number 34

  Gloss note 

Greek god of the sun

Elemental Edition

Line number 35

  Critical note 

According to legend, the eagle tests her young by having them look directly into the sun; those who fail are cast out of the nest.

Elemental Edition

Line number 37

  Gloss note 

to dissolve or decompose; also with the connotation of bringing to a clear conclusion

Elemental Edition

Line number 38

  Gloss note 

entangle, envelop

Amplified Edition

Line number 41

  Critical note 

Elemental Edition

Line number 42

  Gloss note 

pure, chaste

Elemental Edition

Line number 43

  Gloss note 

feathers

Elemental Edition

Line number 44

  Critical note 

the phoenix, an Egyptian bird who burned in a sacrificial fire; a new phoenix was reborn from the ashes.

Transcription

Line number 45

  Physical note 

Final “e” imperfectly erased.

Amplified Edition

Line number 46

  Critical note 

See note to line 14.

Amplified Edition

Line number 47

  Critical note 

Elemental Edition

Line number 48

  Gloss note 

river in England

Elemental Edition

Line number 50

  Gloss note 

funeral ode

Elemental Edition

Line number 50

  Critical note 

According to Ovid, the swan sang only once, when dying.

Amplified Edition

Line number 50

  Gloss note 

funeral ode

Elemental Edition

Line number 51

  Gloss note 

immortalize

Elemental Edition

Line number 52

  Gloss note 

life, account of life

Amplified Edition

Line number 52

  Physical note 

MS = “cuts”

Elemental Edition

Line number 53

  Gloss note 

A male deer prances (“trips it”) in a prosperous condition (“in state”)

Amplified Edition

Line number 53

  Critical note 

Elemental Edition

Line number 55

  Gloss note 

deer

Elemental Edition

Line number 55

  Gloss note 

a valley in southern England

Amplified Edition

Line number 55

  Critical note 

Elemental Edition

Line number 58

  Gloss note 

hunters

Elemental Edition

Line number 58

  Critical note 

hunters throughout the ages were “desired” (here, required) to spare the deer’s life, out of respect for Caesar; Caesar’s deer reputedly lived for centuries.

Elemental Edition

Line number 60

  Gloss note 

the deer

Elemental Edition

Line number 60

  Critical note 

Elemental Edition

Line number 61

  Gloss note 

in his

Transcription

Line number 63

  Physical note 

corrected over “poiſoning”

Transcription

Line number 63

  Physical note 

“k” written over earlier letter (possibly “ſ”), imperfectly erased with descender visible.

Amplified Edition

Line number 63

  Gloss note 

the unicorn, whose horns were believed to have the power to purify water

Elemental Edition

Line number 64

  Gloss note 

restorative medicine

Elemental Edition

Line number 64

  Gloss note 

The unicorn’s horn granted it the power to purify toxic waters.

Elemental Edition

Line number 65

  Gloss note 

rottenness, decay

Elemental Edition

Line number 65

  Critical note 

Aristotle posited that some life forms arose spontaneously from rotting matter.

Amplified Edition

Line number 65

  Critical note 

Elemental Edition

Line number 66

  Physical note 

“least” in the manuscript

Elemental Edition

Line number 68

  Gloss note 

man’s

Elemental Edition

Line number 69

  Gloss note 

lion

Amplified Edition

Line number 69

  Gloss note 

lion

Elemental Edition

Line number 71

  Critical note 

here, Pulter’s view of the tyranny of the commonwealth government, derived from the multi-headed mythological water snake killed by Hercules; when one head was struck off, two shot up in its place.

Amplified Edition

Line number 71

  Critical note 

Elemental Edition

Line number 72

  Gloss note 

subordinates, slaves

Elemental Edition

Line number 75

  Gloss note 

victories, tokens of victory

Elemental Edition

Line number 76

  Gloss note 

discerned, interpreted

Elemental Edition

Line number 77

  Gloss note 

enormous sea creature, whale

Amplified Edition

Line number 77

  Critical note 

Elemental Edition

Line number 78

  Gloss note 

undertakes pranks (“reaks”) in the Roman god of water’s (“Neptune’s”) blue (“azure”) waves

Amplified Edition

Line number 78

  Gloss note 

pranks, playful tricks.

Amplified Edition

Line number 78

  Gloss note 

Roman god of the sea.

Elemental Edition

Line number 79

  Gloss note 

kin

Amplified Edition

Line number 79

  Critical note 

Elemental Edition

Line number 80

  Gloss note 

imagined

Elemental Edition

Line number 80

  Critical note 

Amplified Edition

Line number 80

  Gloss note 

fabled

Amplified Edition

Line number 80

  Gloss note 

salted, pickled for future use; preserved.

Amplified Edition

Line number 80

  Gloss note 

in preparation for.

Transcription

Line number 81

  Physical note 

end of word unclear, with apparently later addition of what looks like “a”, possibly part of malformed “n”

Elemental Edition

Line number 81

  Critical note 

See Job 41:33-34, referring to the leviathan or whale: “Upon earth there is not his like, who is made without fear. / He beholdeth all high things: he is a king over all the children of pride.”

Amplified Edition

Line number 81

  Critical note 

the whale, described in the Bible as “a king over all the children of pride” (Job 41:34). See also Pulter’s This Vast Leviathan" (Emblem 12) [Poem 78], line 9.

Elemental Edition

Line number 82

  Gloss note 

drowns out, throws into confusion

Amplified Edition

Line number 82

  Critical note 

Elemental Edition

Line number 85

  Gloss note 

dolphin

Amplified Edition

Line number 85

  Gloss note 

the dolphin

Elemental Edition

Line number 86

  Critical note 

Arion, a musician/poet in ancient Greece who was kidnapped by pirates and rescued by dolphins

Amplified Edition

Line number 86

  Critical note 

Amplified Edition

Line number 86

  Physical note 

Transcription

Line number 87

  Physical note 

“e” or “ev,” scribbled out

Elemental Edition

Line number 87

  Gloss note 

voyage or progress through life; contest of speed; also, species

Elemental Edition

Line number 90

  Gloss note 

three Fates who determine length of human lives by cutting threads

Amplified Edition

Line number 90

  Gloss note 

in Roman mythology, the three Fates, usually depicted as three women who draw forth, measure out, and cut the threads of human life.

Amplified Edition

Line number 90

  Physical note 

MS = “cuts”

Elemental Edition

Line number 91

  Gloss note 

suckerfish that can attach to anything in the water and, in legends, could impede their movement; obstacle

Amplified Edition

Line number 91

  Critical note 

Elemental Edition

Line number 94

  Gloss note 

halt, support

Elemental Edition

Line number 95

  Gloss note 

blemish

Elemental Edition

Line number 96

  Gloss note 

meanwhile

Elemental Edition

Line number 96

  Gloss note 

stains, disfigures in ink

Elemental Edition

Line number 97

  Gloss note 

eastern

Elemental Edition

Line number 97

  Gloss note 

honors

Elemental Edition

Line number 99

  Gloss note 

Such as

Amplified Edition

Line number 99

  Gloss note 

an ancient Assyrian city founded by Nimrod (Genesis 10:11).

Amplified Edition

Line number 99

  Gloss note 

the ceremonial capital of the Achaemenid Empire, in ancient Persia.

Elemental Edition

Line number 100

  Critical note 

Babylon, in ancient Mesopotamia (now Iraq), like Nineveh, in Assyria (now Iraq) and Persepolis, in ancient Persia (now Iran), referred to in the previous line, were ancient towns that were destroyed

Amplified Edition

Line number 100

  Gloss note 

ancient city on the River Euphrates, in Mesopotamia, famous for its monumental buildings and hanging gardens

Elemental Edition

Line number 103

  Critical note 

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.”

Elemental Edition

Line number 104

  Gloss note 

time’s

Elemental Edition

Line number 104

  Gloss note 

disintegrate

Elemental Edition

Line number 105

  Gloss note 

before

Elemental Edition

Line number 106

  Physical note 

The manuscript reads “ashes,” with “cinders” inserted above by the main scribe; given the poem’s meter, it seems likely that the scribe omitted to strike out “ashes” after replacing it.

Elemental Edition

Line number 106

  Gloss note 

transform, return

Amplified Edition

Line number 106

  Physical note 

The scribe has added “cinders” above this word; a caret indicates the insertion, but “ashes” has not been scored out, and no priority has been indicated between the two alternatives.

Elemental Edition

Line number 108

  Gloss note 

earthly (beneath the moon), minor

Amplified Edition

Line number 108

  Gloss note 

beneath the moon; i.e. earthly, belonging to this world

Elemental Edition

Line number 109

  Gloss note 

goddess of dawn

Amplified Edition

Line number 109

  Gloss note 

Roman goddess of the dawn (and the subject of several poems by Pulter)

Elemental Edition

Line number 112

  Critical note 

goddess of justice, whom Pulter identifies as well with truth; daughter of Aurora

Amplified Edition

Line number 112

  Gloss note 

in Roman mythology, daughter of Aurora and Astraeus, and the goddess of truth or justice.

Amplified Edition

Line number 112

  Gloss note 

unparalleled, a contraction common in Pulter’s poems.

Elemental Edition

Line number 121

  Gloss note 

the moon’s

Elemental Edition

Line number 121

  Gloss note 

splendor

Amplified Edition

Line number 121

  Gloss note 

an epithet of Artemis, the Greek goddess of the moon.

Amplified Edition

Line number 121

  Gloss note 

the moon reflects the light of the sun

Elemental Edition

Line number 122

  Gloss note 

cease

Amplified Edition

Line number 122

  Gloss note 

cease

Transcription

Line number 123

  Physical note 

“our” appears above “o:r” (which has superscript “r”); insertions appear to be in two hands, each different from main scribe

Elemental Edition

Line number 125

  Gloss note 

Apollo’s (the sun god’s)

Amplified Edition

Line number 125

  Gloss note 

MS = Hers. The fiery shafts of Artemis, and her brother Apollo, the Greek god of the sun

Elemental Edition

Line number 126

  Critical note 

Amplified Edition

Line number 126

  Critical note 

Elemental Edition

Line number 127

  Gloss note 

forerunner

Elemental Edition

Line number 127

  Gloss note 

Aurora, goddess of dawn

Amplified Edition

Line number 127

  Gloss note 

Aurora, goddess of the dawn (harbinger: one that goes before)

Elemental Edition

Line number 128

  Gloss note 

Night

Amplified Edition

Line number 128

  Gloss note 

night

Elemental Edition

Line number 129

  Gloss note 

black

Amplified Edition

Line number 129

  Gloss note 

i.e. ebony (black)

Elemental Edition

Line number 130

  Gloss note 

Earth

Transcription

Line number 131

  Physical note 

strike-through of complete word, starting “A” and ending “ſed”

Transcription

Line number 131

  Physical note 

written in hand H2

Elemental Edition

Line number 131

  Gloss note 

bewildered, astonished

Amplified Edition

Line number 131

  Physical note 

Amplified Edition

Line number 131

  Gloss note 

bewildered, confounded, perplexed; also terror-stricken (OED 2 and 3)

Elemental Edition

Line number 133

  Gloss note 

confine himself, remain

Amplified Edition

Line number 133

  Critical note 

Elemental Edition

Line number 136

  Gloss note 

mischiefs

Elemental Edition

Line number 136

  Critical note 

Hermes, or Mercury, is both the trickster messenger god and the planet Mercury, which is hidden by the sun, seeming to play a nursery game of hide and seek.

Amplified Edition

Line number 136

  Gloss note 

trickeries

Elemental Edition

Line number 137

  Gloss note 

source, fountain

Transcription

Line number 138

  Physical note 

“w” possibly corrected to “t” in different hand from main scribe

Elemental Edition

Line number 138

  Gloss note 

planets

Amplified Edition

Line number 138

  Physical note 

Originally “whose”, the word may have been corrected, through an adjustment of the “w”, to “those” (a better word here).

Amplified Edition

Line number 140

  Gloss note 

see note to line 131; or here, perhaps, lost in wonder and astonishment (OED 4)

Elemental Edition

Line number 141

  Critical note 

Amplified Edition

Line number 141

  Critical note 

Jupiter is the largest planet in the solar system and the supreme Roman god. In astrological terms, the planet is “auspicious”, a sign that good things will happen.

Transcription

Line number 143

  Physical note 

imperfectly blotted “e” afterward

Elemental Edition

Line number 143

  Gloss note 

god of war

Elemental Edition

Line number 143

  Gloss note 

blazing sword

Amplified Edition

Line number 143

  Gloss note 

the planet associated with the god of war.

Amplified Edition

Line number 143

  Gloss note 

blazing, burning sword.

Amplified Edition

Line number 143

  Gloss note 

lay aside.

Elemental Edition

Line number 144

  Gloss note 

identical

Elemental Edition

Line number 145

  Gloss note 

Saturn

Amplified Edition

Line number 145

  Gloss note 

Saturn, which has a long astrological association with melancholy

Elemental Edition

Line number 146

  Gloss note 

see, perceive

Transcription

Line number 147

  Physical note 

“ni” overwrites an unknown letter

Transcription

Line number 147

  Physical note 

appears crowded between surrounding words

Elemental Edition

Line number 147

  Gloss note 

classical name for Ireland

Elemental Edition

Line number 147

  Critical note 

Pulter was born outside of Dublin.

Amplified Edition

Line number 147

  Critical note 

Elemental Edition

Line number 148

  Gloss note 

one of the three Fates’

Elemental Edition

Line number 148

  Gloss note 

sharp

Amplified Edition

Line number 148

  Gloss note 

one of the three Fates (or Parcae, line 90), she who cuts the thread of mortal life

Elemental Edition

Line number 150

  Gloss note 

the stars

Elemental Edition

Line number 151

  Gloss note 

alignments of the stars

Amplified Edition

Line number 151

  Gloss note 

alignments of the stars

Transcription

Line number 152

  Physical note 

“A” overwrites “ſt”

Elemental Edition

Line number 153

  Critical note 

Amplified Edition

Line number 153

  Critical note 

Elemental Edition

Line number 154

  Critical note 

Amplified Edition

Line number 154

  Critical note 

Merope, the nearly invisible star in the Pleaides (see note above), who hides her face in shame at having married a mortal (Sisyphus), while all her sisters mated with gods

Elemental Edition

Line number 155

  Critical note 

conflating Orion, a giant hunter turned into a constellation, with musician Arion (see note on Parcae)

Amplified Edition

Line number 155

  Critical note 

in Greek mythology, a giant and huntsman transformed at his death into a constellation of stars. Pulter here conflates him with the Greek lyric poet and harpist Arion (see note to line 86).

Elemental Edition

Line number 156

  Gloss note 

proudest, fiercest

Elemental Edition

Line number 157

  Gloss note 

the Hyades (or the “rainers”), seven nymphs who wept at the death of their brother, Hyas, so much that Zeus turned then into a constellation, which appears in rainy seasons.

Amplified Edition

Line number 157

  Gloss note 

the Hyades, sisters in Greek mythology to the Pleiades and the Hesperides

Amplified Edition

Line number 158

  Critical note 

Amplified Edition

Line number 160

  Gloss note 

i.e. labour is

Elemental Edition

Line number 161

  Critical note 

constellation Lyra that shines from the sky and is represented as a bird, either eagle or vulture (Eardley); creature who gnawed on Prometheus’s liver

Amplified Edition

Line number 161

  Gloss note 

one of two northern constellations, Lyra or Aquila

Transcription

Line number 162

  Physical note 

initial “a” scribbled out; “g” written over with “ſ”; “h” writes over another “a”, correcting “againe” to “ſhine”

Amplified Edition

Line number 162

  Physical note 

amended from “again”, in the scribal hand

Elemental Edition

Line number 163

  Critical note 

Abandoned by Theseus, after she helped him kill the Minotaur, Ariadne is transformed by Dionysius into a constellation crowned by seven stars.

Amplified Edition

Line number 163

  Gloss note 

in Greek mythology, a consort of Theseus and Dionysus, who transforms here into a constellation crowned by seven stars

Elemental Edition

Line number 165

  Gloss note 

comet visible every 400 years

Amplified Edition

Line number 165

  Gloss note 

a comet thought to appear every 400 years.

Amplified Edition

Line number 165

  Gloss note 

for all future time

Elemental Edition

Line number 169

  Gloss note 

Dog Star, appearing in hot summer

Amplified Edition

Line number 169

  Gloss note 

the Dog Star, one of the brightest stars in the sky. In ancient times, the rising of the Dog Star was associated with the hottest, most sultry days of summer (“dog days”).

Amplified Edition

Line number 170

  Gloss note 

usually does

Amplified Edition

Line number 170

  Gloss note 

the Greek god of the sun

Amplified Edition

Line number 172

  Gloss note 

enveloped

Transcription

Line number 173

  Physical note 

corrected from “bee”

Elemental Edition

Line number 173

  Critical note 

basic substances of which all material bodies are composed; in ancient philosophy, believed to be earth, water, air, and fire.

Elemental Edition

Line number 175

  Gloss note 

disintegrated; convinced

Elemental Edition

Line number 176

  Critical note 

See first note.

Amplified Edition

Line number 176

  Critical note 

See note to Title.

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