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The Pulter Project
pulterproject.northwestern.edu
Poem 113

The Oyster and the Mouse
(Emblem 48)

Edited by Leah Knight and Wendy Wall
This poem relates a tale which Pulter’s father may have told about his time as Lord Treasurer to James I or Charles I. At first, it seems a merely amusing anecdote: a mouse, scampering across a dining table, is caught when an oyster (one of the dishes) snaps shut. The ocean’s changing tides bizarrely affect even the dinner table, stimulating the oyster to snap open and release the mouse. Pulter briefly toys with setting this episode in mock-epic form before treating it, instead, in a more characteristic manner. First, she reads the trapped mouse as emblematic of the sinful soul, temporarily walled up in a fleshly shell. Then, she pins this universal scenario to the particular politics of interregnum England, a time when “a vulgar”—presumably, Oliver Cromwell or his son, Richard—had “rise[n] to reign” in place of the “noble spirit” he “restrain[ed].” That usurped spirit is, first and foremost, Charles I (Pulter’s beloved, imprisoned, then beheaded king), but also her royalist compatriots (among them, many nobles) and indeed herself, since she frequently railed against confinement. In the end, the tidal metaphor offers a kind of comfort, since it suggests we must all, mouse-like, merely wait out any uncomfortable but temporary phase, in politics as in mortality.
Compare Editions
i
1When royal
Fergus’s line1
did rule this realm,
2
My father had the third place at the helm2
.
3Out of the
privy kitchen3
came his
meat4
;
4Of sixteen dishes he might daily eat.
5All things that were in season
out were sought5
.
6Amongst the rest they
Wallfleet oysters6
brought;
7Which, being set ready till my father comes,
8A mouse leaps on the table for the crumbs;
9Then, skipping up and down, her tail did glide
10By chance betwixt the shells;
’twas then full tide7
.
11The oyster, feeling one within her house,
12Clapped close her doors, and thus she catched the mouse.
13O, that I now could speak the
Micean tongues8
,
14Or
Frogian language9
! But I want such lungs
15As
he that writ the dismal bloody fights10
16Betwixt the Frogian and the Micean knights.
17Surely no women, and I think few men,
18Can
dance so well as he11
with
feet12
and pen;
19But he those tongues, as I have heard, did seek
20Before he learned the Latin or the Greek.
21But now the captive mouse her dubious fate
22In my own mother tongue I must relate.
23As her imprisonment came by
a flow13
,
24So the next
happy14
tide did let her go.
25Oh, wonderful! Who would have ever thought
26That from
the Delian twins15
help should be brought?
27Then let us learn, while flesh doth here
immure16
28Our sinful souls—not think our selves secure.
29As
this dull fish17
was torn up from a rock,
30This
sprightly18
mouse in prison thus to lock,
31So, from a
vulgar19
, one may rise to reign
32That many a noble spirit may restrain.
33This is too true; yet let them patient be,
34For tide, or time, or death, will set them free.
35Then trust in God,
extol20
Him day and night:
36For sun, and moon, and stars, shall for thee fight.
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
  • Fergus’s line
    descendants of Fergus, the first king of Scotland
  • My father had the third place at the helm
    Pulter speaks here in her own voice of her father, James Ley, who served James I and then Charles I as Lord Treasurer from 1624 to 1628.
  • privy kitchen
    i.e., the king’s private kitchen
  • meat
    food generally as well as flesh specifically
  • out were sought
    were sought out
  • Wallfleet oysters
    See John Norden, Speculi Britanniae Pars: An Historical and Chorographical Description of the Country of Essex, Edited from the Original Manuscript in the Marquess of Salisbury’s Library at Hatfield, ed. Henry Ellis (London, 1840), p. 10: “Some part of the sea shore of Essex yieldeth the best oysters in England, which are called Wallfleet oysters.”
  • ’twas then full tide
    Early modern thinking suggested that even an oyster served for dinner could “gapeth for air,” or open, “against the tide” (Thomas Johnson, Cornucopiae, or Diverse Secrets [London, 1595], sig. B4v).
  • Micean tongues
    imaginary term for the languages spoken by mice
  • Frogian language
    imaginary term for the language spoken by frogs
  • he that writ the dismal bloody fights
    John Ogilby published popular and politicized translations of Aesop’s fables in the 1650s, which included the fable of a battle between the empires of the mouse and frog; the description of animal languages, in lines above, and the heroic dueling of the animals are drawn from this fable.
  • dance so well as he
    Ogilby was a dancing master as well as a translator who (as the next lines indicate) did not learn Latin and Greek until late in life.
  • feet
    In addition to meaning parts of legs, “feet” refers to units of poetic meter.
  • a flow
    of the tide
  • happy
    fortunate; fortuitous
  • the Delian twins
    Apollo and Artemis, Greek god and goddess of the sun and moon, respectively; tides are caused by the sun and moon.
  • immure
    enclose in walls; imprison
  • this dull fish
    the oyster
  • sprightly
    vigorous; energetic
  • vulgar
    a person from the common class in a community, associated with being uneducated; Pulter is referring to Oliver Cromwell, a non-elite statesman who led Parliamentarians against King Charles I during the English civil war, and later became Lord Protector.
  • extol
    elevate with praise
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