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The Pulter Project
pulterproject.northwestern.edu
Poem 56

A Dialogue Between Two Sisters, Virgins Bewailing Their Solitary Life1

Edited by Leah Knight and Wendy Wall
Uncharacteristically, Pulter here chooses to write a pastoral dialogue in which two of her daughters express their sorrows in relation to the natural world. Penelope and Anne seek solace for their laments by immersing themselves in a landscape that also appears to be mourning. The source of the speakers’ sadness is unclear: it seems to derive from their awareness of life’s mortality and decay; their frustrated desire to be in heaven; and their awareness of the world’s general imperfections. Because they see the environment through the lens of classical mythology, however, they do not find comfort; instead the particular flowers and birds signal tragic mythological stories of injury, rape, loss, and death. The daughters’ complaints are also intensified by their inability to produce song while surrounded by a natural world that effortlessly emotes sympathetic sorrow. On realizing that they are mortals unable to release their souls into other bodies or to eternal life, they stoically turn to the comfort of a family community cemented by shared sorrow. The poem poignantly ends with them resolving to ease the isolation of their mother Hester. Out of the six poems in the collection in which Pulter specifically mentions her daughters (The Invitation into the Country, 16472, Upon the Death of my Dear and Lovely Daughter, Jane Pulter10, Tell Me No More [On the Same]11, To My Dear Jane, Margaret, and Penelope Pulter, They Being at London, I at Broadfield38, and Come, My Dear Children (Emblem 2)68), this is the only verse in which her daughters are portrayed as artistic creators.
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i
Young Anne
1
Come, my dear sister, sit with me awhile
2
That we both time and sorrow may
beguile2
.
3
In this sweet shade, by this clear
purling3
spring,
4
We’ll sit and help poor
Philomel4
to sing;
5
And to complete the
consort5
and the choir,
6
I would I had
my viol, you your lyre6
.
Elder Pen
7
Ay me, my sister! Time on restless wheels
8
Doth ever turn with wings upon his heels,
9
Fast as the sand that huddles through his
glass7
;
10
Regardless of our tears, he on doth pass.
11
Yet in the shade of this sad
sycamore8
12
We’ll sit, our wants and losses to
deplore9
;
13
For all things here which do
in order10
rise,
14
Methinks in woe with us do sympathize.
15
These
cypress11
, like our hopes, do lesser grow;
16
This bubbling fount, like our sad eyes, does flow,
17
And though it doth a greater murmuring keep,
18
Yet we may
teach this living spring to weep12
.
19
These primroses, like us, neglected fade,
20
And violets sit weeping in the shade.
21
With us sad
Hyacinthus13
sighs out, “ay!”
22
And lovely
Amarantha14
doth display
23
Her beauties here to no admiring eye.
24
Just so,
obliviated15
, we live and die;
25
And for your viol and my
theorbo lute16
,
26
They both, unstrung, upon the wall hang mute,
27
And in a unison will scarcely move,
28
They’re so unused (ay me) to strains of love.
29
With Philomel we may lament too late
30
Our most disastrous, and
too differing, fate17
.
31
O my sad heart, would we might pass our hours
32
As innocently contented as these flowers,
33
Who show their beauties to admiring eyes,
34
Then
breathing18
aromatic odors, dies.
35
Come, my dear
Nan19
, in this sad shade we’ll lie,
36
And, like them, sweetly live and sweetly die.
37
Adonis’ blood the anemone uprears20
.
38
Who knows? Such virtue may be in our tears:
39
These violets, primrose,
pales21
which appears,
40
Perhaps their number springs from virgins’ tears.
41
O me, I would I might this very hour
42
Sigh my sad soul into this
gillyflower22
.
43
Trust me, I gladly would
transmigrate23
,
44
That my afflicted life might have a
date24
.
45
But we (alas) in sad obscurity
46
Must hopeless live, and so, I
doubt25
, must die.
47
O that a recluse life had been my fate,
48
To take our visits at a
courteous grate26
.
Anne
49
Stay, my dear sister, I have no mind to die;
50
A little more of this base world I’ll
try27
;
51
And if what’s future
prove28
like what is past,
52
I’ll patient be; I can but die at last.
53
Then let us cease in vain to make our moan,
54
And go to our sad mother; she’s alone.
Macron symbol indicating the end of a poem.

Elemental Edition,

edited by Leah Knight and Wendy Walli

Editorial Note

The aim of the elemental edition is to make the poems accessible to the largest variety of readers, which involves modernizing spelling and punctuation as well as adding basic glosses. Spelling and punctuation reflect current standard American usage; punctuation highlights syntax which might otherwise be obscure. Outmoded but still familiar word forms (“thou,” “‘tis,” “hold’st”) are not modernized, and we do not modernize grammar when the sense remains legible.

After a brief headnote aimed at offering a “way in” to the poem’s unique qualities and connections with other verse by Pulter or her contemporaries, the edition features a minimum of notes and interpretative framing to allow more immediate engagement with the poem. Glosses clarify synonyms or showcase various possible meanings in Pulter’s time. Other notes identify named people and places or clarify obscure material. We rely (without citation) primarily on the Oxford English Dictionary (OED), the Oxford Reference database, and the King James Version (KJV) of the Bible. When we rely on Alice Eardley’s edition of Pulter’s work, we cite her text generally (“Eardley”); other sources are cited in full. The result is an edition we consider a springboard for further work on Pulter’s poetry.

See the full conventions for the elemental edition here.

Macron symbol indicating the end of a poem.
  • Leah Knight, Brock University
  • Wendy Wall, Northwestern University
  • A Dialogue Between Two Sisters, Virgins Bewailing Their Solitary Life
    The title is followed by two sets of initials, “P. P.”, presumably for Pulter’s daughter, Penelope Pulter (1633–55), and “F. P.”, another daughter named in the poem as Anne Pulter (1635–60).
  • beguile
    cheat, entertain
  • purling
    rippling, murmuring
  • Philomel
    in mythology, Tereus rapes Philomela and cuts out her tongue; after she takes revenge, she is turned into a nightingale, a bird known for its beautiful song.
  • consort
    harmony
  • my viol, you your lyre
    stringed musical instruments
  • glass
    hourglass
  • sycamore
    tree associated with sorrow
  • deplore
    lament
  • in order
    in the natural order
  • cypress
    cypresses; trees associated with death and mourning; once cut, they were thought to stop growing; here the speaker sees this lack of growth as a shrinking
  • teach this living spring to weep
    They could teach the fount to flow more because their weeping exceeds even its output.
  • Hyacinthus
    mythological lover of Apollo (god of the sun); Zephrus, the wind god, kills him in a jealous rage and he is turned into a flower; according to Ovid, Apollo wrote lines about his grief, which Phoebus (the sun) imprinted on the flower’s petals (“ay”). See John Gerard, Herbal (London, 1633), 193–4.
  • Amarantha
    flower thought never to fade; symbol of immortality sometimes placed on gravestones
  • obliviated
    made to be forgotten
  • theorbo lute
    variety of lute with two sets of tuning pegs and a larger neck
  • too differing, fate
    both the speaker and Philomela are pained by obstacles in expressing their woes (given that the sisters’ instruments are “unstrung”), though Philomela’s fate is much more tragic.
  • breathing
    exhaling
  • Nan
    nickname for Anne
  • Adonis’ blood the anemone uprears
    young hunter beloved by Venus; after he is killed by a boar, she uses his blood to transform him into a colorful flower (the anemone).
  • pales
    florets
  • gillyflower
    carnation
  • transmigrate
    to move to another place; movement of the soul into another body after death; here, to die
  • date
    limit, end
  • doubt
    fear
  • courteous grate
    place of confinement named for metal bars that nevertheless permit communication (and so are “courteous”)
  • try
    test
  • prove
    prove to be
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