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The Pulter Project
pulterproject.northwestern.edu
Poem 28

O, My Afflicted Solitary Soul1

Edited by Andrea Crow
The first part of this carefully-constructed poem finds the speaker stridently urging her1 soul to accept her inevitable mortality. In neatly-organized quatrains, the speaker introduces a series of arguments and metaphors, some of which appear to rework similarly-themed poems by George Herbert, encouraging this externalized version of herself to look forward to its transcendence of what she calls “this dunghill earth.”2 This pose of confidence is underscored by the poem’s regular meter and rhyme scheme, its clear argumentative structure, and the speaker’s use of rhetorical devices such as anaphora and rhetorical questions. Following the fifth quatrain, this certainty abruptly collapses, along with both the division between the speaker and her soul and the poem’s organizational structures. The final line of the poem restates the very reassurance that the speaker had offered to her soul—that it will someday leave her body—as a form of suicidal ideation arising from grief over the deaths of her children and fear in the face of the fact that she, like her children, must also “turn to dust and ashes” (22). This poem thematically connects to the previous poem in the manuscript, On the King’s Most Excellent Majesty27 , which imagines Charles I and Henrietta Maria, like Pulter’s children in this poem, transformed into celestial bodies. Through the juxtaposition of these two poems, Pulter makes her personal losses as significant to the lyric history recorded by her manuscript as the political conflicts facing the nation. See also the proximity of Upon the Death of my Dear and Lovely Daughter, Jane Pulter10 and Tell Me No More [On the Same]11 with On the Horrid Murder of that Incomparable Prince14 and Let None Sigh More for Lucas or for Lisle [On the Same (2)]15.
  • 1. The lack of a title in the manuscript encourages the reader to see a continuity of thought between this poem and the previous poem, “On the King’s Most Excellent Majesty.” The previous poem’s image of the transformation of Charles I and Henrietta Maria into celestial bodies becomes, in this poem, the assumption of the speaker’s soul into heaven following the dissolution of the body. The implicit connections between these two poems exemplify how Pulter treats the personal trauma of obscure people as equivalent to the rise and fall of monarchs. This equivalence has both feminist and anti-autocratic implications in the significance it places on the domestic sphere and on the individual.
  • 2. On Pulter’s frequent use of the dunghill as metaphor, see Frances E. Dolan, What is a Dunghill? (Curation for The Pismire35) in The Pulter Project: Poet in the Making, edited by Leah Knight and Wendy Wall (2018).
Compare Editions
i
1O my afflicted solitary soul,
2Why
dost2
thou still
in dust and ashes roll3
,
3As if thou were not of celestial birth,
4
Or4
thy beginning and thy end were earth?
5Believ’t thou art a
sparkle5
of that light
6Which is
invisible to our mortal sight6
;
7And thou art capable of endless bliss;
8
Thou knowest nothing, if thou knowest not this7
.
9Enlarge thy hopes
(poor soul)8
, then reassume
10Thy ancient right; thou needs no
borrowed plume9
,
11For thou hast noble wings to take thy flight.
12Why dost thou in this dunghill earth delight?
13We talk of
summers and delicious springs10
;
14I am resolvéd here are no such things.
15Of flowery valleys and
salubrious11
hills,
16Of shady groves, and purling
crystal12
rills13
,
17
We14
do but dream: in them, we laugh or
weep15
,
18And never wake until in death we sleep.
19Then what’s this world we keep ado about?
20We weeping enter, and go, sighing, out.
21(
Ay me!16
) this thought of death my courage dashes;
22Must I and mine turn all to dust and ashes?
23Death hath already from my weeping vine
24Torn
seven fair branches17
; the grief and loss is mine,
25The joy is theirs, who now in glory
shine18
,
26And as they were to me of infinite price,
27So now they
planted are in paradise19
28Where their immaculate, pure, virgin souls
29Are now enthroned above the stars or
poles20
,
30Where they enjoy all fullness of desire.
31O when shall I increase that heavenly
choir21
?
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Andrea Crowi

Editorial Note

My editions aim to make Pulter’s poetry accessible in two ways. First, I facilitate basic legibility through modernizing spelling and punctuation according to standard American usage and through glossing unfamiliar words, points of intertexuality, and relevant historical contexts. Second, I want to help readers perceive Pulter’s nuanced approach to form and image, both within individual poems and in the extended patterns and ideas that take shape over the course of the manuscript. With this in mind, I have incorporated interpretive readings of the poems into my notes to provide insight into how Pulter’s poetics work and to spur readers to participate in the value-adding work of bringing Pulter’s writing the attentive level of interpretation it deserves.
Macron symbol indicating the end of a poem.
  • Andrea Crow, Boston College
  • O, My Afflicted Solitary Soul
    The lack of a title in the manuscript encourages the reader to see a continuity of thought between this poem and the previous poem, On the King’s Most Excellent Majesty27. The previous poem’s image of the transformation of Charles I and Henrietta Maria into celestial bodies becomes, in this poem, the assumption of the speaker’s soul into heaven following the dissolution of the body. The implicit connections between these two poems exemplify how Pulter treats the personal trauma of obscure people as equivalent to the rise and fall of monarchs. This equivalence has both feminist and anti-autocratic implications in the significance it places on the domestic sphere and on the individual.
  • dost
    The main scribe’s “didst” is corrected in the manuscript to “dost” here, which both lends a mood of dramatic immediacy to the speaker’s dialogue with her soul and punningly connects her enquiring “dost” to the “dust” introduced later in this line: the future decay of the body that her soul fears.
  • in dust and ashes roll
    I.e., “Why are you, my soul, still in my body?” The speaker’s assertion is at once an affirmation of faith in the security of the afterlife and a form of suicidal ideation, which gradually becomes explicit over the course of the poem. In the manuscript, aside from at the break at line 21 and in the final line, Pulter’s couplets in this poem are not endstopped, though she uses endstops frequently elsewhere. This open-endedness is in tension with the desire to impose order expressed in the first five quatrains.
  • Or
    “And as if.”
  • sparkle
    “Sparkle” refers both to a spark of fire and to a creative animating force, an image that places the soul in a liminal space between the material and immaterial world (OED). Cf. Pardon Me, My Dearest Love42: “My soul remembers still her birth. / She being a sparkle of that light, / Which ne’er shall set in death or night” (8-9).
  • invisible to our mortal sight
    Cf. Milton’s address to light in the opening of book 3 of Paradise Lost, esp. 3-5, “since God is light, / And never but in unapproached light / Dwelt from eternity.” John Milton, Paradise Lost, ed. Stephen Orgel and Jonathan Goldberg (Oxford: Oxford UP, 2008). Like Milton, Pulter raises questions, but does not come to definitive conclusions, about light as the substance that constitutes God’s form, a concept that similarly was called upon by writers who attempted to reckon with the indeterminate space between the material and immaterial worlds.
  • Thou knowest nothing, if thou knowest not this
    Pulter’s use of anaphora, repeating a word or words at the beginning of successive clauses, underscores the axiomatic certainty of the first five quatrains of the poem, which gives way in the latter portion of the poem to anxiety and doubt as the speaker’s effort to externalize her inner fears through the dialogue form begins to break down.
  • (poor soul)
    Through enclosing the “(poor soul)” in parentheses, the speaker ironically contains it even as she urges it to enlarge itself and transcend the material world.
  • borrowed plume
    The image Pulter evokes here is similar to the conceit George Herbert uses in his poem “Easter-Wings,” in which the speaker imagines his soul grafted onto the Lord’s wing in order to better transcend the earthly world; see lines 19-20, “For, if I imp my wing on thine / Affliction shall advance the flight in me.” In Pulter’s poem, affliction too serves as a catalyst for the speaker’s future transcendence of the material world. However, she asserts that the soul is already fully equipped to make this departure.
  • summers and delicious springs
    Pulter here evokes another traditional answer to the problem of mortality in the early modern English lyric tradition: the carpe diem poem, of which Christopher Marlowe’s “The Passionate Shepherd to His Love” is exemplary. Pulter’s speaker here asserts that poetic descriptions of the immediate beauty of the natural world do not reflect the reality of what she reframes as the “dunghill earth.”
  • salubrious
    Health-giving.
  • crystal
    In lines 13-16, Pulter echoes language introduced earlier in her collection, in The Invitation into the Country2: “Here’s flow’ry vales, and crystal springs, / Here’s shady groves” (37-38). The idea of Pulter’s country house as a locus amoenus, protected from a corrupted world, has become, in this poem, an empty “dream.” As in the fourth quatrain, Pulter’s lines here, too, closely mirror George Herbert’s work. Cf. “Jordan (1),” “Is it no verse, except enchanted groves / And sudden arbour shadow coarse-spun lines? / Must purling streams refresh a lover’s loves? / Must all be veil’d, while he that reads, divines?” (6-9). While Herbert wrestles with how devotional verse substitutes human inventions for God’s creation, Pulter transposes the groves and purling streams that Herbert associates with poetic artifice onto the natural world itself, going one step beyond Herbert by treating the material world too as insubstantial and artificial.
  • rills
    Small streams.
  • We
    In this final quatrain of the first section of the poem, Pulter shifts from a dialogue form, in which the speaker addresses her soul in the second person, to the first-person plural, before collapsing this internal division in the final eleven lines. Thus, the speaker goes from reassuring an externalized version of herself to succumbing to personal anxiety.
  • weep
    The centrality of sorrow in human life as the speaker imagines it is emphasized by the aural connection between the dominant pronoun in this quatrain, “we,” and the repeated word “weep”/“weeping.” See also ln. 20, “we weeping enter.”
  • Ay me!
    The aural similarity of “Ay” to “I” underscores the sharp transition at this moment of the poem from the second-person reassurances the speaker offers to her soul to the collapse of both this internal division and the speaker’s sense of confidence in the face of her own mortality.
  • seven fair branches
    Eardley notes that seven of Pulter’s children had died by 1655. The horticultural metaphors in these lines extends the speaker’s rejection of the image of the locus amoenus and carpe diem rhetoric above. In place of a paradiscal space of immediate natural pleasures, Pulter depicts a garden that is slowly dying. This line also echoes the Duchess of Gloucester’s speech in Richard II, “Edward’s seven sons, whereof thyself art one / Were as seven vials of his sacred blood, / Or seven fair branches springing from one root” (1.2.11-13). Thank you to Frances Dolan for pointing out this allusion.
  • shine
    Like Charles I and Henrietta Maria in the previous poem, Pulter imagines her deceased children transfigured into celestial lights. As the speaker’s assurance breaks down, so too does the organizational structure of her poem: here, her strict couplet form is disrupted by an irregular three-line rhyme.
  • planted are in paradise
    Pulter completes the horticultural metaphor introduced at line 12, rejecting stock poetic images of the natural world in favor of heavenly paradise. See notes 14 and 18.
  • poles
    The celestial poles are the points above each of earth’s poles that intersect with the imagined celestial sphere encircling the earth.
  • choir
    In Pulter’s manuscript, the final word of this poem is spelled “quire,” a pun that links the speaker’s future lyric voice in the heavenly “choir” to its current manifestation in the “quires,” i.e. gatherings of folded leaves, of her manuscript.
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