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The Pulter Project
pulterproject.northwestern.edu
Poem 100

Emblem 35

Edited by Emily Barth

Most early modern emblems include a visual image to accompany their textual commentaries, which consist of a brief motto followed by a longer piece of text, usually a poem. Pulter’s emblems are “naked” as very few others are (Andrew Willet’s Sacrorum emblemata (1592), a distinctly Protestant book of religious emblems printed in England, is one example). Even in the absence of imagery, Pulter creates an iterative reading experience in which her initial verbal imagery offers an idea that appears again in new form, compounding meaning through recurrence and amplification. As in a typical emblem, where an image, motto, and epigram would echo and expand on one another, Pulter’s emblem offers several distinct examples that reverberate (as she might have it) over the course of the poem’s three parts.

The poem presents the Horizontal Bird and Sunfish, one after the other, as expanding echoes of one another. Both maintain their status as animals while simultaneously acquiring human emotions of longing and love. Both are described with their eyes “fixed” skyward, suggesting a steadfast piety despite both natural distraction and physical necessity. In the description of the Sunfish, this repetition is compounded by a more elaborate account of a tumultuous environment that challenges fixity, stressing the Sunfish’s dedication (and so, in retrospect, that of the Horizontal Bird). The agency ascribed to both the Horizontal Bird and Sunfish gains additional emphasis as the poem’s speaker instructs the reader to “imitate this soul, that Bird, and Fish,” referring the reader to a third example in which a collective of souls interacts with the divine. Making the three (soul, Bird, and Fish) analogous to one another clarifies the extent to which the Horizontal Bird and Sunfish stand in for both reader and speaker in the poem’s earlier descriptions of each, ushering in the poem’s final exhortation. The language in the last third of the poem, increasingly marked by direct address to the reader, comprises what in a typical emblem might be a moral lesson, proverb, or advice.

The poem’s final injunction to depend solely on God, to turn only to God for comfort, produces an emblem’s culminating message, appropriately reiterating the descriptions of the Horizontal Bird and the Sunfish gazing always toward Heaven. It also, in shifting our attention to a simultaneously collective and personal spiritual endeavor, invites the reader to participate more fully in this lyric emblem poem.

Compare Editions
i
1Seest thou this
Horizontal Bird1
, whose eyes
2Are
fixed2
, immovable, upon the skies,
3Though
Night3
obscures the radiant
Delia’s rays4
,
4Though clouds do muffle his bright face
a-days5
?
5Whether she goes, or feeds, or breeds, or flies,
6Yet still to Heaven she rolls her longing eyes.
7So doth the
Sunfish6
, whose fair eyes are fixed
8On Heaven alone; her love sure is
unmixed7
,
9Although the sea
works8
high, and billows swell
10Almost to Heaven, then down as low as Hell.
11Though
Hurricanians9
make the
Welkin roar10
,
12And Mariners their woeful
wracks11
deplore,
13Yet she is still the same she was before.
14
Even so12
those souls whose hopes and joys above
15Are only plac’d,
reverberates13
that love
16To Heaven from whence they had
irradiation14
,
17Performing so the
end of their creation15
.
18So imitate this
soul16
, that
Bird17
, and
Fish18
,
19And though
things19
answer not thy hopes or wish,
20Yet look towards Heaven, on God alone depend:
21He will thy suff’rings
mitigate or end20
.
22And trust not
Fortune21
, nor her amorous smiles;
23
For when she courts us most, she most beguiles22
.
24Nor fear her frowns, for there is one on high
25At whose bright
footstool23
Fate24
and Fortune lie:
26To
him25
alone, to him for comfort
fly26
.
Macron symbol indicating the end of a poem.

Amplified Edition,

edited by Emily Barthi

Editorial Note

For this Amplified Edition, spelling has been modernized and punctuation follows the Elemental Edition with the aim of increasing clarity and accessibility. Capitalization has been maintained where the context of the poem suggests the probability of a proper noun, though this is to some extent an act of interpretation.
Macron symbol indicating the end of a poem.
  • Emily Barth
  • Horizontal Bird
    A dual implication: both that the bird is of the horizon, and that the bird’s body, being horizontal, forms a constant plane from which she gazes toward heaven. The poem continues to emphasize the way the bird’s piety participates in the bird’s naturality. Lara Dodds has glossed this thoroughly in her curation, Birds Without Feet?, accompanying her Amplified Edition, Emblem 571. Like the bird that anchors Pulter’s Emblem 5, this bird of paradise lives in perpetual flight, never touching the ground. It was also believed that the bird of paradise fed only on dew and light. Also known as the manucodiat, or “God’s bird,” the bird of paradise had a metaphorical reputation as being of celestial quality.
  • fixed
    Manuscript = Fixt, implying a particularly direct connection of action, duty, desire, or concentration, perhaps also with attention to a physical connection. “Fixt” as though with a string, stuck in place: the capitalization emphasizes the significance of this faithful fixity (and this emphasis on significance remains true of the scribe’s capitalization practices throughout the poem).
  • Night
    Personified Night conceals the light that illuminates Heaven, much as she does in Shakespeare’s “Rape of Lucrece,” where Night, “mother of dread and fear,/ Upon the world dim darkness doth display,/ And in her vaulty prison stows the day” (1594).
  • Delia’s rays
    Pulter’s use of a feminized name to refer to Apollo appears elsewhere (including The Garden, or The Contention of Flowers12, and The Snail, the Tulip, and the Bee (Emblem 53)118). Delia’s ambiguity and inconstancy contrasts with the description of the Horizontal Bird that precedes her appearance in the poem, but as in The Eclipse1, Delia’s inconstancy results from external influence.
  • a-days
    During the day, or possibly, at the present time.
  • Sunfish
    The Sunfish does as the Horizontal Bird does: she is attentive, constant, and faithful as the bird despite the turbulence of the sea around her described in the next several lines of the poem. Although sunfish spend most of their lives underwater, the large, disc-shaped fish periodically come to the surface to bask, swimming on their sides to warm themselves in the sun as they gaze up at the sky.
  • unmixed
    Pure; undiluted.
  • works
    In this case, “work” meaning to be turbulent or stormy; to toss, seethe, rage; also to strive. The sea acquires some agency as it “works” through its own natural mutability as well as a spiritual struggle. The sunfish’s environment contrasts with her character.
  • Hurricanians
    “Hurricanians” is in parallel to “Mariners” in the next line. The noun seems to have some agency rather than merely referring to hurricanes.
  • Welkin roar
    The sky erupts in storm, a vocal expression (perhaps of frustration) in response to the sea’s own turbulence.
  • wracks
    Shipwrecks.
  • Even so
    Similarly; likewise.
  • reverberates
    To reverberate in early modern usage entails a deflection, repelling, or sending back of something received (physical or emotional). Here, Pulter connects the idea of a reverberation of emotion (in this case, of love) to a different understanding of reverberation as it would relate to light, linking her comment on a soul that “reverberates that love” to the “irradiation” in the next line. Unlike the reverberations of emotion or physical impact that are deflected, reverberation of light is something that spreads like echoing sound. (See “reverberate,” v., Oxford English Dictionary.)
  • irradiation
    She imagines that those who focus their attention (and affection) on Heaven are illuminated from within with spiritual light, or alternatively, that those who are already “irradiated” concentrate their hopes and joys in heaven, reflecting a love that also originates there. This language and concept occurs in both The Manucodiats (Emblem 5)71 and here, suggesting a reverberation not only within this poem, but also between the two.
  • end of their creation
    Pulter suggests that the love of God (possibly prayer) practiced in the preceding lines rebounds God’s love, reflecting this love back toward heaven, and that this is the ultimate purpose of creation. This phrase concludes a quatrain that echoes an idea found elsewhere in Pulter’s work, where she describes love and prayer reascending in reciprocity (My God I thee (and onely thee) Adore”50; A Solitary Complaint54; The Manucodiats (Emblem 5)71).
  • soul
    “Those souls” from line 14 here condensed to a single representative soul, an example to be followed — as the Bird and Fish referred to in the same line, an emblem that transmits behavioral pedagogy.
  • Bird
    The “Horizontal Bird.”
  • Fish
    The Sunfish.
  • things
    Equally material objects and events occurring in the material world.
  • mitigate or end
    Careful not to promise too much, the speaker suggests either an end to suffering, or a moderation, perhaps a lessening, of that suffering.
  • Fortune
    The goddess, who Samuel Johnson describes in volume one of his English Dictionary (1755) as having “the power supposed to distribute the lots of life according to her own humour.” Her humor is based on chance, and her “Amorous smiles” are therefore fickle and not to be trusted.
  • For when she courts us most, she most beguiles
    In operating “according to her own humor,” Fortune charms and perhaps unintentionally deceives. Despite this warning, the speaker also suggests that we should not fear Fortune.
  • footstool
    Both Fate and Fortune lie under God’s dominion; they are subject to God, as in the King James Version of Isaiah 66:1: “The heaven is my throne, and the earth is my footstool.” In this figurative usage, the footstool indicates subjection or dominion.
  • Fate
    Fate, the order of events, is more constant than Fortune but, much like Fortune, is something we do not control.
  • him
    God.
  • fly
    While Pulter’s speaker surely means to urge the reader to turn quickly toward God in search of comfort, the use of the word “fly” at the end of the poem also reminds the reader of the emblem’s opening description of the Horizontal Bird, who turns toward God in unending flight. Recalling Pulter’s rather metaphysical descriptions of love reverberating and “irradiation” returning to heaven, the idea that the reader should fly to God reinforces the advice to emulate the Horizontal Bird, the Sunfish, and those souls who have managed to focus entirely on heaven. The directive to fly, however, might also draw attention to the inherent difficulty in this task for creatures who are bound to earth, and so serve as a reminder that any such emulation will require ongoing effort.
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