On the uniqueness of Pulter’s emblems within the larger tradition, see Margaret J. M. Ezell, “The Laughing Tortoise: Speculations on Manuscript Sources and Women’s Book History,” English Literary Renaissance 38, no. 2 (2008): 346–9; Alice Eardley, “Hester Pulter’s ‘Indivisibles’ and the Challenges of Annotating Early Modern Women’s Poetry,” Studies in English Literature, 1500–1900 52, no. 1 (2012): 130–2, and “Introduction” to Poems, Emblems, and the Unfortunate Florinda, ed. Alice Eardley (Chicago: Iter Press, 2014), 27–9; Ross, Women, Poetry, 157–69; Helena Kaznowska, “Women Are from Venus: Addressing Female Agency with Classical Allegory,” in Audience and Reception in the Early Modern Period, ed. John R. Decker and Mitzi Kirkland-Ives (New York: Routledge, 2021), 287–90; and Victoria E. Burke, “Gendering the Emblem: Hester Pulter’s Formal Experimentation,” in Feminist Formalism and Early Modern Women’s Writing, ed. Lara Dodds and Michelle M. Dowd (Lincoln: University of Nebraska Press, 2022), 92–109.