Editorial note
The aim of the elemental edition 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 full conventions
for this edition here.
Headnote
This is one of several “Emblems” criticizing misplaced pride, a vice here vested in a porcupine, while the virtues of the patiently suffering—and rather more surprisingly, laughing—tortoise align with those vaunted in many poems recounting the speaker’s endurance of earthly grief. In this beast fable, a vain male porcupine swaggers along shooting his quills and insulting a female tortoise, who hides motionless in her shell. When a cart passes by and the riders laugh at the animals, the porcupine turns his weaponry on them, but the riders drive him away with stones and whips. Although their cart rolls over the tortoise, she is protected by her shell. The injured porcupine then seems to seize control of the emblem by moralizing what he has learned about the value of non-retaliation, a lesson the speaker echoes with her own expressed aim of leaving retribution in God’s hands. The humility and apparent pacifism of such a vow stands in marked contrast to the final line’s confident invocation of divine vengeance upon the speaker’s unnamed “oppressors.”Line number 1
Gloss note
swaggeringLine number 3
Gloss note
kicking; treating contemptuouslyLine number 8
Gloss note
dissimilarLine number 10
Gloss note
from hisLine number 10
Gloss note
case for arrowsLine number 11
Gloss note
indiscriminatelyLine number 12
Gloss note
Apparently a word made up by Pulter; in her day, a “frock” could mean a loose outer garment worn by peasants and workmen, or the wearer thereof, which appears to be the meaning in this case.Line number 13
Gloss note
leap; hurry (away)Line number 24
Gloss note
The entire poem is classed in the genre of “emblem,” or a symbolic (especially pictorial) representation with a moral, but the term is used in this line to indicate that the fable of the porcupine and tortoise has ended (before the poem ends).Line number 25
Critical note
Pulter’s entomology appears mistaken; while the honeybee’s barbed stinger catches in the skin, so that the bee eviscerates itself as it tries to fly away, wasps (and hornets, a type of wasp) can sting repeatedly without suffering themselves.Line number 31
Gloss note
free from confinement or subjection Sorry, but there are no notes associated with
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