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The Pulter Project
pulterproject.northwestern.edu
Poem 4

The Complaint of Thames, 1647, When the Best of Kings Was Imprisoned By the Worst of Rebels at
Holmby1

Edited by Lara Dodds
Framed by a brief first-person introduction and conclusion, “The Complaint of Thames” voices the lament of the Thames river, personified as a female figure, for the betrayal of the rightful monarch, King Charles I, by the people and city of London. Pulter examines the political consequences of the king’s imprisonment in both national and global contexts through the device of a catalog of rivers. Drawing upon extensive geographical and historical lore, Pulter heightens the pathos of the Thames’s complaint by putting it into dialogue with the famous rivers of England and the world. The rivers alternately envy the Thames and grieve with her, joined, finally, by the speaker who puts off sleep to weep with the rivers of the world.
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i
1Late in an evening as I walked alone,
2I heard the Thames most sadly make her moan.
3As she came weeping from her
western spring2
,
4
She3
thus bewailed the learned shepherds’ king:
5Amintas, sad Amintas, sits forlorn,
6And his fair
Chloris4
now’s become the scorn
7Of
Troynovant5
’s
ingrate, licentious dames6
.
8No marvel, then, if poor afflicted Thames
9With salt abortive tears does wash this city,
10As full of blood and lies as void of pity.
11
Perfidious7
town, know thou the power of fate.
12Thy long felicity shall find a date,
13And I may live to see another turn
14When thy proud fabric shall unpitied burn.
15Then Heaven, just Heaven, withhold thy rain,
16And I will leave my channel once again,
17As when my holy
Albian8
’s blood was spilt,
18Seeing to wash away thy horrid guilt
19Is more impossible than ’tis to change
20
The skins of Negroes that in Afric’ range9
.
21Then when thou fryest in vengeful flames of fire,
22Thy scorched
genius10
ready to expire,
23Thy tongue and mouth sable as salamander
24With speaking ’gainst thy king and queen such slander,
25Then not a drop of my cool crystal wave
26To cool thy sulfurous tongue or life to save,
27But when I have of thee seen all my lust
28And all thy pride and glory turned to dust,
29Then I triumphant with my watery train
30Will make this city
quagmires11
once again.
31But O, thy blood and perjuries repent,
32Then Heaven I hope in mercy will relent.
33Thy king restore, call home his queen again,
34Or all thy prayer and fasting is in vain.
35Hast thou forgot (ay me), so have not I,
36Those
halcyon days12
, the sweet tranquility
37That we enjoyed under his happy reign,
38Which Heaven will once restore to us again,
39Unless the
dismal line of dissolution13
40(Which oh, forbid) be drawn upon this nation.
41Oft have I borne upon my silver breast
42His lovely Chloris
like Aurora dressed14
,
43With youth and beauty, with her princely spouse.
44Envied I was by
Severn, Humber, Ouse15
.
45The sacred Dee said she no more would boast
46Her showing conquest on the conquering coast,
47Though Edgar’s glory from her river springs
48When he in triumph by eight captive kings
49Was rowed upon her famous crystal stream;
50Those former honors showed now like a dream.
51Nay, the Danube said she would ne’er rehearse
52Her being biggest in the universe.
53Even Tagus would not brag of golden sands,
54But said she envied more my happy strands;
55So said the Loire. In envy Po
looked on16
56Though she were honored by a Phaeton.
57And Egypt’s glory, Nilus, stately stream,
58Said her felicities were but a dream
59When on her o’erflowing waves were seen
60The Roman eagles and her black-eyed queen.
61And silver Ganges said the sacrifice
62The
Banians17
brought with elevated eyes,
63Though all their carcasses by fire calcined
64Were in her purifying waves refined;
65Though all their wealth and treasure in they hurled,
66And she were lady of the eastern world;
67Yet all that glory she did count a toy
68Compared, she said, with happy Thames her joy.
69Tiber said of Horatius’ valor brave
70She ne’er would speak but I the praise should have.
71Crystal Euphrates never did envy
72The glory of no other flood but I,
73Though from a thousand founts her stream doth spring;
74Yet did she never bear so good a king.
75Through lofty Babylon her river flows
76And earthly paradise she doth enclose;
77Though brave Semiramis enlarge her fame,
78Yet doth she envy still the English Thame.
79But now, alas, they envy me no more,
80But with their tears my heavy loss deplore.
81Oft have I borne my sacred sovereign’s barge,
82Being richly gilt, most proud of such a charge.
83My waves would swell to see his princely face,
84Each billow loth to give his fellow place.
85Sometimes they would rise to kiss his royal hand,
86And hardly would give back at my command.
87Billow with billow strive, and ruffling roar,
88Scorning the blow of either hand or oar.
89But now insulting on my billows ride
90The kingdom’s scourges and this city’s pride,
91Which make my trembling stream lamenting roar
92And her sad loss with troubled breast deplore.
93Come kind Charybdis, come, oh come, and help’s;
94Sweet lovely Scylla, bring thy barking whelps.
95Then should they need no monument nor tomb,
96But Oceanus’ dark and horrid womb
97
Should them involve18
. But wishes are in vain;
98I will roar out my grief unto the main.
99Now all the beauty that my waves adorn
100Are snowy swans that sadly swim forlorn;
101Nor do they in the sun their feathers prune,
102As they were wont, nor yet their voices tune,
103But in despairs, hanging their head and wing,
104
This kingdom’s dirges they expiring sing19
.
105Oh that it in my power were to refuse
106To see this town, like crystal
Arethuse20
.
107Below this cursed Earth I would hide my head,
108And run amongst the caverns of the dead,
109Where my pure wave with Acheron should mix,
110With Lethe, Phlegethon, Cocytus, Styx;
111
Then would I waft them to the stygian shade21
112Examples unto rebels to be made.
113Oh my sad heart, these are but foolish dreams,
114For they triumph upon my conquered streams.
115Yet this I’ll do while sighs breathes up my spring;
116I’ll trickle tears for my afflicted king,
117And look how far one drop of crystal Thames
118Doth run, so far I’ll memorize their fames;
119So shall my grief immortalize them names.
120I hearing these complaints, though time to sleep,
121Sat sadly down, and with her ’gan to weep.
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Lara Doddsi

Editorial Note

I have modernized spelling and punctuation in this poem with the aim of enhancing clarity and readability. The notes gloss unfamiliar words and provide cultural and literary contexts.
Macron symbol indicating the end of a poem.
  • Lara Dodds, Mississippi State University
  • Holmby
    Also known as Holdenby House, Holmby is the estate in Northamptonshire where King Charles I was held prisoner during the latter stages of the First Civil War (February to June 1647). This is one of three poems that Pulter dated 1647. See The Invitation to the Country2 and Made When I Was Sick, 164731.
  • western spring
    The Thames flows from west to east across southern England, passing through Oxford and London. Its source is in Gloucestershire.
  • She

    Pulter personifies the Thames as a feminized figure, thus drawing on the tradition of complaint poetry such as Samuel Daniel’s “The Complaint of Rosamund” and Spenser’s “The Ruines of Time.” In Spenser’s poem, the speaker stands by the river Thames and overhears the complaint of a woman who speaks as the spirit of Verulamium, an ancient Roman city. Some well known poems, such as Michael Drayton’s Poly-Olbion, identified the Thames as masculine. In John Denham’s popular “Cooper’s Hill” (1642), likewise, the Thames is personified as a “son” of the Ocean:

    Thames, the most lov’d of all the ocean’s sons,
    By his old sire to his embraces runs,
    Hasting to pay his tribute to the sea,
    Like mortal life to meet eternity. (lines 187-90)
  • Chloris
    a pastoral name for Queen Henrietta Maria, paired with Amintas for King Charles.
  • Troynovant
    New Troy, i.e. London; a name that draws upon the legend that London was founded by the Trojan hero Brutus.
  • ingrate, licentious dames
    In contrast to the sympathetic Royalism shared by the speaker and the personified Thames, the women of London are represented as immoral and treacherous. During the 1640s some London women did bring petitions before Parliament, political actions that were satirized in sexualized terms in pamphlets such as The Parliament of Women(1646). See Mihoko Suzuki Subordinate Subjects: Gender, the Political Nation, and Literary Form in England, 1588-1688 (Ashgate, 2003), especially chapter 4.
  • Perfidious
    faithless or treacherous (OED)
  • Albian
    Saint Alban is known as the first British martyr (3rd or 4th century). Alban harbors a priest and refuses to renounce Christianity. When his execution by beheading is ordered, he approaches his death eagerly and when he reaches a quickly flowing river that cannot be crossed, he prays, and the river dries up. In Bede’s Ecclesiastical History of the English People this event is located at the River Ver in the town of Verulamium (now St. Albans), but in another early source (Gildas, De Excidio et Conquestu Britanniae) Alban crosses the Thames before his martyrdom, which corresponds to Pulter’s version of the story.
  • The skins of Negroes that in Afric’ range
    Jeremiah 13:23: “Can the Ethiopian change his skin, or the leopard his spots? Then may ye also do good, that are accustomed to do evil” (AV); i.e. the Londoners’ guilt is immutable.
  • genius
    i.e. genius loci, “A guardian spirit or god associated with a place” (OED), in this case, the Thames, which withholds its water to punish the “slander” of the Londoners’ tongues.
  • quagmires
    “an area of wet, boggy land that gives way under foot; a quaking bog” (OED, “quagmire,” n. 1.); the Thames first threatens to abandon the city of London to drought because of its betrayal of the king. She will return only when she has witnessed (“seen all my lust”) sufficient humbling and punishment (“all thy pride and glory turned to dust”).
  • halcyon days
    a period of calm weather that occurs around the winter solstice (OED “halcyon,” adj. 1) and, by extension, the time of peace and prosperity enjoyed by Britain during the rule of Charles I.
  • dismal line of dissolution
    “separation into parts or constituent elements; reduction of any body or mass to elements or atoms; destruction of the existing condition; disintegration, decomposition” OED, "dissolution," n.1a.). The Thames worries that a “dismal line of dissolution” will be brought upon the nation, which perhaps anticipates a break in succession or inheritance.
  • like Aurora dressed
    Henrietta Maria costumed as a goddess (Aurora) for a masque, as she was in William Davenant and Inigo Jones’s Luminalia (1638). See note 106 in Alice Eardley, Poems, Emblems, and The Unfortunate Florinda. Pulter addresses and refers to Aurora, the goddess of the dawn, frequently throughout the manuscript, including Aurora [1]3, To Aurora [1]22, To Aurora [2]26, To Aurora [3]34, and Aurora [2]37.
  • Severn, Humber, Ouse
    Pulter here develops an extensive catalog of the world’s rivers. The Thames boasts that the famous rivers of Britain (Severn, Humber, Ouse, and Dee), Europe (Danube, Tagus, Loire, Po, and Tiber), Africa (Nile), Asia (Ganges), and the Middle East (Euphrates) once envied her because she was home to Charles and Henrietta Maria. Pulter draws upon extensive geographical and historical knowledge in her characterization of each river. Each river announces its greatest glory (e.g., the Danube is the longest; Cleopatra traveled on the Nile; the Ganges received sacrifices of its people; the Euphrates bordered Eden), and then admits that it is the Thames that is superior and deserves its “envy.” When the Thames’s fellow rivers learn that the city has betrayed its monarchs, however, they “envy me no more,” and join with the Thames in its mourning (“with their tears my heavy loss deplore”).
  • looked on
    MS: “tooke” which appears to be an error.
  • Banians
    used during the seventeenth century to refer to people from India and/or followers of Hinduism (OED, banian, n.). Pulter refers to the Hindu practice of cremation of the dead on the banks of the Ganges.
  • Should them involve
    The Thames invokes famous water monsters (Scylla and Charybdis) to aid her in ridding London of the king’s enemies, who will be washed away to unmarked graves in the ocean (“Oceanus’ dark and horrid womb”).
  • This kingdom’s dirges they expiring sing

    Following the invocations of the mythical Scylla and Charybdis, the Thames turns to a more naturalistic description of swans swimming on the river; however, they sing their own deaths and the death of the kingdom. With this image, Pulter refers to the belief that swans are silent until just before their deaths, when they sing a final song. Thomas Browne examines the origin of and evidence for this belief in Book 3, Chapter 27 of Pseudodoxia Epidemica (Sir Thomas Browne, Selected Writings. Ed. Geoffrey Keynes (University of Chicago Press, 1968), pp. 289-90). Compare Shakespeare’s Othello, where Emilia’s final speech begins:

    What did thy song bode, lady?
    Hark, canst thou hear me? I will play the swan
    And die in music. (5.2.240-42)
    Greenblatt, et. al. The Norton Shakespeare, 3rd ed., 2016.
  • Arethuse
    Arethusa is a nymph transformed into an underground fountain so that she may escape the river god Alpheus. See Ovid, Metamorphoses 5.572-641. While much of the poem describes the envy of the world’s rivers for the Thames, here the Thames expresses envy for Arethuse who is able to escape underground. The Thames wishes to “refuse / To see this town.”
  • Then would I waft them to the stygian shade
    The Thames asks to enter the underworld (“caverns of the dead”) where she can mix her “pure wave” with the five rivers of Hades: Acheron (sorrow or woe), Lethe (forgetfulness), Phlegethon (fire), Cocytus (lamentation), and Styx (hate) and punish the king’s enemies (“rebels”) by ushering them to Hell (“waft them to the stygian shade”).
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