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The Pulter Project
pulterproject.northwestern.edu
Poem 29

My Soul’s Sole Desire

Edited by Sarah C. E. Ross

This is one of several poems in Pulter’s manuscript articulating her soul’s desire for divine love, and looking beyond the “sad shades” of earthly life to the promise of its continuation “above”. For a close comparison, see Must I Thus Ever Interdicted Be55, and see also Dear God, from Thy High Throne Look Down63. These devotional lyrics are personal colloquies with God, and they are simple and delicately rendered, of a kind likely to be broadly influenced by the plain style of George Herbert. Herbert’sThe Temple (1633) was widely read and widely imitated by women writers of devotional verse in the seventeenth century. See extracts from Helen Wilcox, Entering The Temple in Curations.

The Herbertian qualities of the poem are evident in its combination of apparent simplicity with actual intricacy. It follows a consistent three-line stanza form with a shortened, dimeter, third line, creating an emphasis that serves well the final “My God and king”. These dimeter lines rhyme in pairs across stanzas. Pulter uses the same form (with the slight variation of dimeter lines rhyming in threes across stanzas) in “Dear God, from Thy High Throne Look Down” (Poem 63); and a similar form is used in Made When My Spirits Were Sunk Very Low66. In the case of the lyric to hand, the consistent rhyme and meter give a sense of the poem as a song, approximating the “celestial lays” to which the speaker looks forward. These celestial songs are literally “unknown” to her, and so the songs she sings on earth can only ever be poor approximations; however, Pulter’s sense of continuity between her own devotional lyrics and these heavenly lays is intimated in her poem This Was Written in 164845: “I’ll such lays here begin, shall end above” (line 68).

Compare Editions
i
1Thou that didst on the
chaos1
move,
2Illustrious spirit of life and love,
3O pity me
4And on my dark soul deign to shine:
5Sin, Death, and Hell, will all resign
6Their place to thee.
7Then shall my soul’s sad shades of night
8Be turned into
meridian2
light
9Until my
story,3
10Begun below, goes on above
11In joy and life, being crowned by
love4
,
12With endless glory.
13Then those unknown celestial
lays5
,
14Those hallelujahs to thy praise,
15I’ll ever sing
16And thine
immensity6
implore,
17Thy majesty alone adore:
18
My God and king.7
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Sarah C. E. Rossi

Editorial Note

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).1

  • 1. See Alice Eardley, “‘I haue not time to point yr booke … which I desire you yourselfe to doe’: Editing the Form of Early Modern Manuscript Verse”, in The Work of Form: Poetics and Materiality in Early Modern Culture, ed. Ben Burton and Elizabeth Scott-Baumann (Oxford: Oxford University Press, 2014), pp. 162-178.
Macron symbol indicating the end of a poem.
  • Sarah C. E. Ross, Victoria University of Wellington
  • chaos
    the void, or primordial matter, that existed before the creation of the universe. See Genesis 1:2: “And the earth was without form, and void ... And the spirit of God moved upon the face of the waters”.
  • meridian
    of or relating to midday (when the sun is at its highest point); also, of supreme excellence (OED adj. 1a and b). Lines 7-8 may also refer to the earth undergoing a temporary eclipse of the sun on the death of Christ; see Mark 15:33, “At noon, darkness came over the whole land until three in the afternoon”.
  • story,
    Compare the remainder of this poem with Must I Thus Ever Interdicted Be55, lines 14-18.
  • love
    alluding to the biblical “God is love” (see, for example, 1 John 4:16)
  • lays
    songs
  • immensity
    boundlessness, infinity (OED n.1)
  • My God and king.
    a biblical phrase commonly invoked in praise of God, including in devotional poetry. See Psalms 145:1 “I will extol thee, my God, O king; and I will bless thy name for ever and ever”; and for poetic uses, see Pulter, Must I Thus Ever Interdicted Be55, line 18; and George Herbert, “Jordan (I)”, which ends with the simple, emphatic “My God, My King”.
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