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The Pulter Project
pulterproject.northwestern.edu
Poem 120

Somnus, Why Art Thou Still to Me Unkind?

Edited by Leah Knight and Wendy Wall
This fragment of a poem, in what is probably Pulter’s hand, appears on a loose sheet in a folder associated with the bound volume in which her other poems are found. Although a complete copy might someday be found, Pulter appears not to have finished this experimental dream vision about a relatively recent event: the 1667 battle, known as the Raid on the Medway, which ended in the destruction by the Dutch navy of the fort and shipyard at Sheerness, on England’s east coast. Part of the Second Anglo-Dutch War, this was one of the worst defeats ever suffered by the British navy, which saw many warships destroyed or captured and the hasty arrangement by Charles II of an unfavorable treaty. The few extant verses of what promises an epic treatment of these events are framed by the speaker’s recurrent nightmare visions which mingle her distress with an incongruous perception of Sheerness remaining “unconquered” despite the “purple gore” that sprinkles the sea. The speaker’s horrified amazement joins that of the powerful and resplendent water gods and goddesses, mustering (too late, it must be said) as British reinforcements under Saturn’s command. Neptune, Triton, Nereus, Doris: the speaker, perched on a rock above the fray, witnesses a catalogue of mythic powerhouses whom she has imaginatively installed into current political events. What dreamy counterfactual scenario might have ensued, if the poem continued past its opening catalogue and into the martial action one might expect to follow? We will only know if the poem’s continuation one day comes to light.
Compare Editions
i
1
Somnus1
, why art thou still to me unkind?
2
Why do all else such comfort find
3
In thy embrace? But I, and only I,
4
Alternately (ay me) do
live and die2
.
5
Thy fellow
Morpheus3
too doth show his spite
6
When from his
horny gate4
he doth affright
7
My troubled soul, as he did th’other night.
8
O my sad heart, would it might prove a dream!
9
In that
unconquered Sheer, when Thames’s stream5
10
Joined with fair Medway doth their
tribute6
pay,
11
There on a lofty rock me thought I lay;
12
Then, on the trembling bosom of the deep,
13
Huge floods of tears poor Thames did weep
14
To7
see the sea sprinkled with purple gore.
15
The sad
Nereides8
did much
deplore9
16
This omen. Great
Neptune10
was amazed
17
As he upon those bloody billows gazed;
18
Then, instantly he bid blue
Triton11
sound
19
His wreathéd
trump12
—’twas heard the ocean round—
20
To summon each sea god and goddess fair,
21
That to our narrow seas they should
repair13
.
22
Then did they come from every sea and
strand14
23
To hear their king
Saturnus’s15
dread command.
24
Some did bestride
Philanthrope’s16
broad back;
25
The
nymphs17
in pearly shells, not one there lacks
26
Of all great
Oceanus’s18
wat’ry
train19
,
27
But floating came upon the frothy
main20
.
Nereus 1
28
Imperial
Nereus21
first did lead the way,
29
Who o’er the
tumid22
waves bears chiefest sway;
30
Rich
orient gems23
his purple robe adorning,
31
Which cast a luster like the blushing morning.
32
This
glist’ring24
chariot drawn with prancing fish,
33
Which would have satisfied proud
Phaeton’s25
wish.
Doris 2
34
Just by his side, fair fruitful
Doris26
came,
35
Whose numerous
issue27
doth enlarge her fame;
36
Rich orient pearls her snowy neck did grace;
37
Her sparkling crown gave luster to her face;
38
Between her breasts a rich
carbuncle28
shone;
39
The universe afforded not a stone
40
That equalled it for
splendency29
of light.
41
It ruled the rest as
Cynthia30
doth the
night31
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
  • Somnus
    Roman god of sleep
  • live and die
    wake and sleep; sleep was commonly referred to as the image of death; for instance, John Donne calls rest and sleep Death’s “pictures” (“Death Be Not Proud,” l. 5).
  • Morpheus
    son of Somnus and Roman god of dreams
  • horny gate
    The gates of horn and ivory is a literary image (originally from The Odyssey) distinguishing two kinds of dreams: those passing through the gate of horn are true, while those passing through the gate of ivory are deceptive. Many writers used the term “horny gate” to describe Morpheus’s dream invasions. See, for instance, Du Bartas His Divine Weeks and Works, trans. Josuah Sylvester (London, 1641), p. 249.
  • unconquered Sheer, when Thames’s stream
    At Sheerness (on England’s eastern coast) the river Medway (mentioned in the next line) joins with the estuary of the Thames river; it is presumably called “unconquered” here in relation to the 1667 Dutch attack there in the Second Anglo-Dutch War, despite the fact that both contemporary and later accounts consider the battle there to have been a resounding defeat of the English navy.
  • tribute
    an offering paid as a duty, here also alluding to the the fact that a “tributary” is a stream flowing into a river
  • To
    A mark (“+”) appears in the left margin, as though to signal an insertion of a phrase which is not present in the manuscript.
  • Nereides
    in Greek legend, the fifty daughters of Doris and Nereus; sea nymphs
  • deplore
    lament
  • Neptune
    Roman god of water and the sea
  • Triton
    son of Neptune, represented as a fish with a human head, who makes the ocean roar by blowing through his shell
  • trump
    trumpet
  • repair
    return
  • strand
    shore, coast
  • Saturnus’s
    Latin for Saturn, the Roman god associated by the Romans with the Greek god Kronos, the father of the first-generation Olympians
  • Philanthrope’s
    The name (etymologically, “lover of humanity”) refers in classical literature to the dolphin; it is based on the animal’s alleged friendliness to people, which in some cases included allowing people to ride (“bestride”) them.
  • nymphs
    semi-divine spirits in the form of maidens inhabiting the sea, rivers, mountains, woods, trees; often portrayed in poetry as attendants on a god
  • Oceanus’s
    in Greek mythology, the son of Uranus (Heaven) and Gaia (Earth); the personification of the great river believed to encircle the world
  • train
    a body of attendants or followers
  • main
    open sea
  • Nereus
    an old sea god, father of the Nereides
  • tumid
    swelling; puffed with wind
  • orient gems
    possibly, pearls, especially those from near India; alternatively, any jewel from or associated with the Orient, the part of the globe east of Europe; “orient” could refer to a bright red color (like sunrise in the east), to the color or lustre of the best pearls (understood to come from the East), or to anything brilliant or resplendent.
  • glist’ring
    for “glistering,” meaning sparkling or glittering
  • Phaeton’s
    Phaeton was the rash son of Helios, the Greek sun god, who, when riding his father’s chariot, lost control of it and almost destroyed the world by fire (had Zeus not killed Phaeton and restored order).
  • Doris
    a sea goddess, wife of Nereus and mother of the Nereides
  • issue
    offspring
  • carbuncle
    a large precious stone of a red or fiery color; a mythical jewel reputed to emit light in darkness
  • splendency
    splendor, brilliance
  • Cynthia
    the personification of the moon
  • night
    The poem breaks off here and is unfinished.
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