The Pulter Project
Poet in the MakingComparison Tool
Facsimile of manuscript: Photographs provided by University of Leeds, Brotherton Collection
We might contrast the Lily’s argument for the priority and superiority of whiteness to Aaron’s defense of blackness in Shakespeare’s Titus Andronicus. Aaron calls Chiron and Demetrius “white-limed walls” and “alehouse painted signs,” emphasizing their color as both a put on and a canvas for subsequent marking or painting. He then asserts that:
Whereas the Lily boasts that her hue is unmarked, Aaron argues that blackness is not only unspotted but unmarkable. See also the speech assigned to Sambo, the “Negro-Slave,” in Thomas Tryon’s Friendly Advice to Gentlemen-Planters (1684): “And though White be an emblem of Innocence, yet there are whited Walls filled within with Filth and Rottenness; what is only outward, will stand you in no stead, it is the inward Candor that our Creator is well-pleased with, and not the outward” (Caribbeana: An Anthology of English Literature of the West Indies, 1657-1777, ed. Thomas Krise [U of Chicago P, 1999], 67).
Goddess of the harvest and fertility, perhaps imagined here as kept awake by grief for her daughter Proserpina,who was kidnapped by her husband, the god of the underworld. In the half year her daughter was in the underworld, Ceres’ grief caused fall and winter. When her daughter returned to her, the world came alive again with spring and then summer. Similarly, Abraham Cowley links the Poppy to Ceres’ grief:
The Heliotrope seems to refer to the story of a jealous rivalry between two of the Sun’s lovers, Clytie and Leucothoe. Clytie was the daughter of the Ocean and Tethys (mentioned above). After Clytie informed Leucothoe’s father that his daughter had been deflowered by the Sun, he buried her alive. The Sun then spurned Clytie’s bed and, according to Ovid, she starved herself for nine days and then transformed into a heliotrope—but one of the purple-flowered variety. As Sandys’s translation of Ovid’s Metamorphoses puts it: Clytie
A comment in the margin clarifies that this flower is “The Heliotrope or Turn-sol.” The Heliotrope thus tells what might be viewed as a story of its own origins but presents it as evidence against the Violet.
Iris was sometimes called the daughter of Thaumas or, in Latin, Thaumantias. This reference may refer to the multicolored or rainbow nature of the Auricula. William Drummond, for example, writes:
An English translation of Virgil’s “Of Iris or the Rainbow” includes these lines:
On the association of the Iris and the rainbow, see below.
The state of having enough or too much of something. The July flower’s variety allows her to satisfy those who see and smell her without diminishing their appetite for her. This sounds very like Enobarbus’s description of Cleopatra in Shakespeare’s Antony and Cleopatra:
We might contrast the Lily’s argument for the priority and superiority of whiteness to Aaron’s defense of blackness in Shakespeare’s Titus Andronicus. Aaron calls Chiron and Demetrius “white-limed walls” and “alehouse painted signs,” emphasizing their color as both a put on and a canvas for subsequent marking or painting. He then asserts that:
Whereas the Lily boasts that her hue is unmarked, Aaron argues that blackness is not only unspotted but unmarkable. See also the speech assigned to Sambo, the “Negro-Slave,” in Thomas Tryon’s Friendly Advice to Gentlemen-Planters (1684): “And though White be an emblem of Innocence, yet there are whited Walls filled within with Filth and Rottenness; what is only outward, will stand you in no stead, it is the inward Candor that our Creator is well-pleased with, and not the outward” (Caribbeana: An Anthology of English Literature of the West Indies, 1657-1777, ed. Thomas Krise [U of Chicago P, 1999], 67).
Goddess of the harvest and fertility, perhaps imagined here as kept awake by grief for her daughter Proserpina,who was kidnapped by her husband, the god of the underworld. In the half year her daughter was in the underworld, Ceres’ grief caused fall and winter. When her daughter returned to her, the world came alive again with spring and then summer. Similarly, Abraham Cowley links the Poppy to Ceres’ grief:
The Heliotrope seems to refer to the story of a jealous rivalry between two of the Sun’s lovers, Clytie and Leucothoe. Clytie was the daughter of the Ocean and Tethys (mentioned above). After Clytie informed Leucothoe’s father that his daughter had been deflowered by the Sun, he buried her alive. The Sun then spurned Clytie’s bed and, according to Ovid, she starved herself for nine days and then transformed into a heliotrope—but one of the purple-flowered variety. As Sandys’s translation of Ovid’s Metamorphoses puts it: Clytie
A comment in the margin clarifies that this flower is “The Heliotrope or Turn-sol.” The Heliotrope thus tells what might be viewed as a story of its own origins but presents it as evidence against the Violet.
Iris was sometimes called the daughter of Thaumas or, in Latin, Thaumantias. This reference may refer to the multicolored or rainbow nature of the Auricula. William Drummond, for example, writes:
An English translation of Virgil’s “Of Iris or the Rainbow” includes these lines:
On the association of the Iris and the rainbow, see below.
The state of having enough or too much of something. The July flower’s variety allows her to satisfy those who see and smell her without diminishing their appetite for her. This sounds very like Enobarbus’s description of Cleopatra in Shakespeare’s Antony and Cleopatra:
We might contrast the Lily’s argument for the priority and superiority of whiteness to Aaron’s defense of blackness in Shakespeare’s Titus Andronicus. Aaron calls Chiron and Demetrius “white-limed walls” and “alehouse painted signs,” emphasizing their color as both a put on and a canvas for subsequent marking or painting. He then asserts that:
Whereas the Lily boasts that her hue is unmarked, Aaron argues that blackness is not only unspotted but unmarkable. See also the speech assigned to Sambo, the “Negro-Slave,” in Thomas Tryon’s Friendly Advice to Gentlemen-Planters (1684): “And though White be an emblem of Innocence, yet there are whited Walls filled within with Filth and Rottenness; what is only outward, will stand you in no stead, it is the inward Candor that our Creator is well-pleased with, and not the outward” (Caribbeana: An Anthology of English Literature of the West Indies, 1657-1777, ed. Thomas Krise [U of Chicago P, 1999], 67).
Goddess of the harvest and fertility, perhaps imagined here as kept awake by grief for her daughter Proserpina,who was kidnapped by her husband, the god of the underworld. In the half year her daughter was in the underworld, Ceres’ grief caused fall and winter. When her daughter returned to her, the world came alive again with spring and then summer. Similarly, Abraham Cowley links the Poppy to Ceres’ grief:
The Heliotrope seems to refer to the story of a jealous rivalry between two of the Sun’s lovers, Clytie and Leucothoe. Clytie was the daughter of the Ocean and Tethys (mentioned above). After Clytie informed Leucothoe’s father that his daughter had been deflowered by the Sun, he buried her alive. The Sun then spurned Clytie’s bed and, according to Ovid, she starved herself for nine days and then transformed into a heliotrope—but one of the purple-flowered variety. As Sandys’s translation of Ovid’s Metamorphoses puts it: Clytie
A comment in the margin clarifies that this flower is “The Heliotrope or Turn-sol.” The Heliotrope thus tells what might be viewed as a story of its own origins but presents it as evidence against the Violet.
Iris was sometimes called the daughter of Thaumas or, in Latin, Thaumantias. This reference may refer to the multicolored or rainbow nature of the Auricula. William Drummond, for example, writes:
An English translation of Virgil’s “Of Iris or the Rainbow” includes these lines:
On the association of the Iris and the rainbow, see below.
The state of having enough or too much of something. The July flower’s variety allows her to satisfy those who see and smell her without diminishing their appetite for her. This sounds very like Enobarbus’s description of Cleopatra in Shakespeare’s Antony and Cleopatra:
We might contrast the Lily’s argument for the priority and superiority of whiteness to Aaron’s defense of blackness in Shakespeare’s Titus Andronicus. Aaron calls Chiron and Demetrius “white-limed walls” and “alehouse painted signs,” emphasizing their color as both a put on and a canvas for subsequent marking or painting. He then asserts that:
Whereas the Lily boasts that her hue is unmarked, Aaron argues that blackness is not only unspotted but unmarkable. See also the speech assigned to Sambo, the “Negro-Slave,” in Thomas Tryon’s Friendly Advice to Gentlemen-Planters (1684): “And though White be an emblem of Innocence, yet there are whited Walls filled within with Filth and Rottenness; what is only outward, will stand you in no stead, it is the inward Candor that our Creator is well-pleased with, and not the outward” (Caribbeana: An Anthology of English Literature of the West Indies, 1657-1777, ed. Thomas Krise [U of Chicago P, 1999], 67).
Goddess of the harvest and fertility, perhaps imagined here as kept awake by grief for her daughter Proserpina,who was kidnapped by her husband, the god of the underworld. In the half year her daughter was in the underworld, Ceres’ grief caused fall and winter. When her daughter returned to her, the world came alive again with spring and then summer. Similarly, Abraham Cowley links the Poppy to Ceres’ grief:
The Heliotrope seems to refer to the story of a jealous rivalry between two of the Sun’s lovers, Clytie and Leucothoe. Clytie was the daughter of the Ocean and Tethys (mentioned above). After Clytie informed Leucothoe’s father that his daughter had been deflowered by the Sun, he buried her alive. The Sun then spurned Clytie’s bed and, according to Ovid, she starved herself for nine days and then transformed into a heliotrope—but one of the purple-flowered variety. As Sandys’s translation of Ovid’s Metamorphoses puts it: Clytie
A comment in the margin clarifies that this flower is “The Heliotrope or Turn-sol.” The Heliotrope thus tells what might be viewed as a story of its own origins but presents it as evidence against the Violet.
Iris was sometimes called the daughter of Thaumas or, in Latin, Thaumantias. This reference may refer to the multicolored or rainbow nature of the Auricula. William Drummond, for example, writes:
An English translation of Virgil’s “Of Iris or the Rainbow” includes these lines:
On the association of the Iris and the rainbow, see below.
The state of having enough or too much of something. The July flower’s variety allows her to satisfy those who see and smell her without diminishing their appetite for her. This sounds very like Enobarbus’s description of Cleopatra in Shakespeare’s Antony and Cleopatra:
We might contrast the Lily’s argument for the priority and superiority of whiteness to Aaron’s defense of blackness in Shakespeare’s Titus Andronicus. Aaron calls Chiron and Demetrius “white-limed walls” and “alehouse painted signs,” emphasizing their color as both a put on and a canvas for subsequent marking or painting. He then asserts that:
Whereas the Lily boasts that her hue is unmarked, Aaron argues that blackness is not only unspotted but unmarkable. See also the speech assigned to Sambo, the “Negro-Slave,” in Thomas Tryon’s Friendly Advice to Gentlemen-Planters (1684): “And though White be an emblem of Innocence, yet there are whited Walls filled within with Filth and Rottenness; what is only outward, will stand you in no stead, it is the inward Candor that our Creator is well-pleased with, and not the outward” (Caribbeana: An Anthology of English Literature of the West Indies, 1657-1777, ed. Thomas Krise [U of Chicago P, 1999], 67).
Goddess of the harvest and fertility, perhaps imagined here as kept awake by grief for her daughter Proserpina,who was kidnapped by her husband, the god of the underworld. In the half year her daughter was in the underworld, Ceres’ grief caused fall and winter. When her daughter returned to her, the world came alive again with spring and then summer. Similarly, Abraham Cowley links the Poppy to Ceres’ grief:
The Heliotrope seems to refer to the story of a jealous rivalry between two of the Sun’s lovers, Clytie and Leucothoe. Clytie was the daughter of the Ocean and Tethys (mentioned above). After Clytie informed Leucothoe’s father that his daughter had been deflowered by the Sun, he buried her alive. The Sun then spurned Clytie’s bed and, according to Ovid, she starved herself for nine days and then transformed into a heliotrope—but one of the purple-flowered variety. As Sandys’s translation of Ovid’s Metamorphoses puts it: Clytie
A comment in the margin clarifies that this flower is “The Heliotrope or Turn-sol.” The Heliotrope thus tells what might be viewed as a story of its own origins but presents it as evidence against the Violet.
Iris was sometimes called the daughter of Thaumas or, in Latin, Thaumantias. This reference may refer to the multicolored or rainbow nature of the Auricula. William Drummond, for example, writes:
An English translation of Virgil’s “Of Iris or the Rainbow” includes these lines:
On the association of the Iris and the rainbow, see below.
The state of having enough or too much of something. The July flower’s variety allows her to satisfy those who see and smell her without diminishing their appetite for her. This sounds very like Enobarbus’s description of Cleopatra in Shakespeare’s Antony and Cleopatra: