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The Pulter Project
pulterproject.northwestern.edu
Poem 30

The Center

Edited by Elizabeth Scott-Baumann

In this poem, Pulter articulates a fairly recent scientific argument, that the planets rotate around the sun. This heliocentric world view, propounded by Copernicus and developed by Galileo, had shocked many Christians by decentering the human world. Pulter adopts this avant-garde astronomy, and elegantly harnesses it to a poem that places God—like the sun—firmly at its center. She Christianizes heliocentrism by asserting that the planets rotate around the sun “[a]ccording to the great Creator’s pleasure”. As often in Pulter’s poems, she uses contemporary scientific thought to explore spiritual states and experiences. Here the speaker wishes that the sun would not only be the focal point around which earth and the planets rotate, as it is, but that it would shine constantly on earth, enabling perpetual day and banishing night’s spiritual crises. The sun’s authority in this poem is somewhat monarchical with the opening scene of a “throne[d]” (l. 5) figure receiving planets like dancers performing “according to [his] pleasure”.

As in Margaret Cavendish’s ‘Of Stars’, Pulter’s speaker here reins in cosmological conjecture in order to refocus on God: “Halloo, my thoughts! To native earth descend; / For thy ambition in the dust must end”. Also like Cavendish, though, Pulter enjoys exploring astronomical ideas along the way: her ideas are influenced by Galileo’s Starry Messenger (Sidereus nuncius), published in 1610 and still controversial when she was writing, and Copernicus’s account of the three rotations made by the earth. Without knowing more of Pulter’s education, we do not know whether she was able to read Galileo in Italian or Latin (Sidereus nuncius did not appear in English for over two centuries), or whether she gained her knowledge through English writers such as Henry More, whose Philosophical Poems (1647) explicitly engaged with Galileo’s theories. On Pulter’s familiarity with the “most modern and most coherent cosmological theory of the time” (p. 4), see also Sarah Hutton, ‘Hester Pulter (c. 1596-1678): A Woman Poet and the New Astronomy’, Études Epistèmes,14 (2008): 77-87 and Alice Eardley, ed. Lady Hester Pulter: Poems, Emblems, and The Unfortunate Florinda (Toronto: Centre for Medieval and Renaissance Studies, 2014). On “dust”, see Curations for “The Circle [1],” Dust and “The Hope,” Dust.

The poem’s structure and syntax are also elliptical. Pulter circles around the central subject—God—in several ways, including her syntax (the action wished-for in the opening lines is not reached until line 7, “Would clasp this globe”), and her focus on His earthly creation (cedar, daisy, elephant, whale), concluding that we can only conceive of God’s glory through the beauty of His creation (ll. 39-40). In this way, her poem enacts the instruction she gives to herself—“To native earth descend”—to explore God through more humble and indirect means.

Compare Editions
i
1Oh that the
splendent1
and
illustrious2
sun
2Round whom the planets
triple3
motions run4
:
3Diurnal, annual, trepidation;
4Yet that
all quick’ning5
orb keeps still his station,
5Whilst they about his throne dance each his
measure6
6According to the great Creator’s pleasure;
7Oh that His
influence7
, His heat, His light,
8Would clasp this globe, that these sad shades of night
9Might this our
horoscope8
involve9
no more;
10Nor me the loss of day, so oft deplore.
11Now half our time in horrid night is lost,
12The other half ’twixt hope and fear is tossed,
13Till pain and grief (oh cursed
communion10
14’Twixt soul and body) doth dissolve the union.
15Then Death, triumphant, doth perform his
lust11
,
16Grinding (in spite) our very bones to dust,
17Then shuts us in Oblivion’s
sable12
womb,
18Our infant cradle, now our age’s tomb,
19Till infinite power and love our dust shall raise
20To sing in joys His everlasting praise.
21But though the sun be center unto all
22And our earth’s motion makes him rise and fall
23Yet must his orb confine my thoughts also,
24Must they (ay me) must they no higher go?
25Since first I saw a glimpse of heavenly joy,
26Methinks this world is but a
trundling13
toy14
27And all those glitt’ring
globes15
that shine like fire
28Are lights hung out to
light16
my thoughts up higher
29To Him that doth the universe
involve17
,
30Whose word creates, whose breath do all dissolve,
31
Even Him that total nature doth surround,18
32The thought of whom doth my poor soul confound,
33Ay me! who can invisible light behold,
34Or can eternity His age be told?
35If I to contemplate His glory venture,
36Rottenness into my bones doth enter.
37
Halloo19
, my thoughts! To native earth descend;
38For thy ambition in the dust must end.
39Yet we may, by the beauty of the creature,
40Conceive the glory of the great Creator,
41He whose incomprehensible power
42Did make the tallest tree and smallest flower,
43Even lofty cedars that on mountains grow
44And humble daisies which in valleys blow.
45The elephant and whale,
He doth dissect20
,
46The despicablest reptile or insect.
47
Then will I here my few and evil days21
48Make Him the sum and center of my praise.
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Elizabeth Scott-Baumanni

Editorial Note

With an undergraduate and graduate student audience in mind, this poem has been modernised in spelling and punctuation. Where modernisation would affect form, priority has been given to the integrity of the poem’s formal features (so, for instance, verb endings -est and -eth have been retained unmodernised; where the meter requires it, the verb ending -ed is accented, e.g., “Then shall thy blessèd influence”). Nouns have been capitalized only when there is clear personification. The notes provide information essential to understanding the poem, while the Headnote aims to stimulate readers’ own interpretations through suggesting literary or historical contexts, possible influences, comparable poems (by Pulter and by her predecessors and peers) and relevant critical arguments.
Macron symbol indicating the end of a poem.
  • Elizabeth Scott-Baumann, King’s College London
  • splendent
    shining brightly
  • illustrious
    eminent or renowned, and also literally, shining
  • triple
    in the manuscript, “various” has been written above “triple”, as if a possible alternative
  • motions run
    Diurnal, annual, trepidation: around whom the planets run in three different kinds of motion: diurnal (daily; the earth’s own rotation), annual (yearly; its course around the sun) and trepidation (the tilt and oscillation of the earth on its axis), see Paradise Lost: John Milton, ed. Alastair Fowler (Harlow, Essex: Longman, 1998), p. 436 and Introduction.
  • all quick’ning
    all quick’ning: which quickens, gives life to, all
  • measure
    a slow and stately dance
  • influence
    as well as its modern meaning of an unseen effect, this term had a more specific astrological meaning, of an ethereal fluid flowing from the stars and acting upon humankind.
  • horoscope
    configurations of the planets in the sky at a given moment
  • involve
    envelop
  • communion
    union (a “cursed Communion” because pain affects the body, grief the mind)
  • lust
    what he wishes
  • sable
    black (this sense originates in heraldry, OED)
  • trundling
    with wheels, rolling along a surface
  • toy
    a child’s plaything; a trifle, of little importance; a curiosity
  • globes
    stars
  • light
    n the manuscript, “guide” has been written above “light” , as if a possible alternative (perhaps to avoid repetition)
  • involve
    envelop, include
  • Even Him that total nature doth surround,
    here, and in the previous lines, there is some ambiguity about what is enveloped by what, playing to the poem’s wider exploration of heliocentric and geocentric models of the universe and God’s place in (or above) these models
  • Halloo
    shout, holler, call for attention; here the speaker is summoning her thoughts
  • He doth dissect
    cut up in order to understand; analyse closely; anatomise. God scrutinises the whole scale of animalkind from the elephant and whale to the lowliest reptile and insect
  • Then will I here my few and evil days
    that is, “Then I will, while I am here on earth for few and evil days.” The latter phrase referring to Jacob: “And Pharaoh said unto Jacob, How old art thou? And Jacob said unto Pharaoh … few and evil have the days of the years of my life been” (Genesis 47: 8-9)
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