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The Pulter Project
pulterproject.northwestern.edu
Poem 96

Old Aeschylus
(Emblem 31)

Edited by Leah Knight and Wendy Wall
It is a mistake to want to know your fate, Pulter argues here. Once you do, you’ll want to change it, and you can’t; a destiny foreknown is not forestalled. Her first exhibit is a fellow poet, whose attempt to outwit the prediction that he’d die from something falling from above only brings about such a death: he goes to an open field, where a plummeting turtle smashes in his skull. This seemingly unexpected death was, of course, expected, indeed predicted—as are all deaths, or as they should be, this memento mori poem reminds us: while each of us will die, we cannot and should not inquire about the details, Pulter opines. Yet she herself is awfully tempted, if we can judge by how urgently (in the poem’s late-breaking, self-reflective turn) she implores that she should “never know [her] destiny,” and “not here anticipate [her] grave.” To do so, she frets, is to be buried alive: a paradoxical state reflecting a certain ambivalence, in this poem as in others, toward life and death on (and in) earth, and perhaps what follows too. Her projected solution is devotion to God’s purpose, which might reframe consciousness of mortality.
Compare Editions
i
1Old
Aeschylus1
, being told that he should die
2By the descent of something from on high,
3Into the field he went and sat him down.
4The sun shone bright upon his
glist’ring crown2
,
5
For he to Erycine had sacrificed3
;
6
Pity4
a poet thus was
stigmatized5
.
7A tow’ring eagle let her prey fall down
8In hope to break
th’escallop6
on his crown.
9She had her wish; it broke the fatal shell,
10And struck the poet’s rhyming soul to Hell.
11Then let none curiously pry in their fate,
12For none can lengthen or make short their date.
13For surely none their fortune can prevent,
14Unless a messenger from Heaven be sent
15With a reprieve; so
Hezekiah’s tears7
16A pardon did obtain for fifteen years.
17This
Jezebel8
found true that fatal hour
18When dogs her curséd carcass did devour.
19Nor could
Domitian9
cross his prophet’s fate
20Or add a minute to his own life’s date.
21
Though Caesar did the fatal Ides know10
,
22At twenty and three wounds his blood did flow.
23So Agrippina was her fate foretold,
24
Yet her dissection Nero did behold11
.
25Then let me never know my destiny,
26But every day so live that when I die
27I may with comfort lay these ruins down
28In
dust12
; ’tis softer far than finest
down13
.
29Nor is that pillow stuffed with cares or fears,
30Nor shall I wake as now to sighs and tears.
31Yet O, my God, this comfort let me have:
32Let me not here anticipate my grave;
33Yet
if I must alive thus buried be14
,
34Let me yet live, my gracious God, to Thee.
35Then so assist my soul in her sad story,
36That though I fall, yet I may rise to glory.
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
  • Aeschylus
    Prolific Greek playwright who was told by an oracle that he would die by something from the heavens. According to legend, this prophecy was realized when he was killed by a turtle shell dropped by an eagle.
  • glist’ring crown
    glittering head. Aeschylus is bald (and thus a target for the eagle).
  • For he to Erycine had sacrificed
    Aeschylus is devoted to “Erycine,” a name for Venus, the goddess of love, derived from her temple on Mount Eryx. In humoral medicine, it was thought that “one major way to induce coldness, and thus baldness, was too much sexual activity” (Anu Korhonen, “Strange Things Out of Hair: Baldness and Masculinity in Early Modern England,” The Sixteenth Century Journal, vol. 41, no. 2 [2010], pp. 371-91 at p. 380).
  • Pity
    It is a pity
  • stigmatized
    scarred, branded, or disgraced. Baldness is here construed as a stigma.
  • th’escallop
    shell
  • Hezekiah’s tears
    See 2 Kings: 20:1-6, which tells of how Hezekiah wept and prayed when the prophet Isaiah told him of Hezekiah’s impending death; in response, God extended his life by fifteen years.
  • Jezebel
    Jezebel was the wife of Ahab, King of Israel. She was a worshipper of Baal caught in religious wars; Elijah’s prophecy, that dogs would eat her corpse, came true.
  • Domitian
    Domitian was a Roman emperor who failed to disprove one of the soothsayer Ascletarion’s prophecies. He also tried unsuccessfully to evade a soothsayer’s prediction of his own death.
  • Though Caesar did the fatal Ides know
    A soothsayer foretold the death of Roman emperor Julius Caesar, who was stabbed to death on the “Ides” (or fifteenth day) of March.
  • Yet her dissection Nero did behold
    As Agrippina had been foretold by an astrologer, Roman emperor Nero killed his mother and passionately viewed (“dissected”) each part of her corpse.
  • dust
    the material from which life derives to and to which it will return; see Genesis 3:19: “for dust thou art, and unto dust shalt thou return.”
  • down
    soft feathers
  • if I must alive thus buried be
    The speaker reads her own anticipation of the grave (see the previous line), through worrying or wondering about her fate, as a form of living death.
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