{"id":2741,"date":"2021-07-05T22:52:57","date_gmt":"2021-07-05T22:52:57","guid":{"rendered":"http:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741"},"modified":"2021-07-05T23:07:40","modified_gmt":"2021-07-05T23:07:40","slug":"the-surprisal-of-death-from-natures-pictures","status":"publish","type":"post","link":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741","title":{"rendered":"The Surprisal of Death (from Nature&#8217;s Picture(s))"},"content":{"rendered":"<p><i>The next,<\/i><span id='easy-footnote-1-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-1-2741' title='This poem is taken from Margaret Cavendish\u2019s &lt;i&gt;Natures Pictures, drawn by fancies pencil to the life&lt;\/i&gt; (London, 1656), reprinted with textual changes as &lt;i&gt;Natures Picture&lt;\/i&gt; (London, 1671). The first part of &lt;i&gt;Nature\u2019s Pictures&lt;\/i&gt; (a section entitled \u201cHer Excellencies Tales in Verse\u201d in 1656 and \u201cSeveral Feigned Stories in Verse\u201d in 1671) is made up of several verse stories, told by different storytellers, similar in structure to Geoffrey Chaucer\u2019s &lt;i&gt;Canterbury Tales&lt;\/i&gt;. This story follows one about a soldier who marries a woman from the opposing camp, and it is followed by \u201cA Mock-Tale of the Lord Marquis of Newcastles\u201d (the title breaking the frame narrative) gives a fairly unsympathetic depiction of very old woman hit by Cupid\u2019s arrow, who marries a young man and then dies during the consummation of her marriage.&lt;\/p&gt;\n&lt;p&gt;We chose this poem for the website as, being a narrative poem, it shows Cavendish writing in a different mode than she does in &lt;i&gt;Poems and Fancies&lt;\/i&gt;. It is also interesting as one of the poems marked (in some copies) as being collaboratively written between Margaret Cavendish and her husband William\u2014in one copy, this assertion is written in her own hand (see the note by line 49).&lt;\/p&gt;\n&lt;p&gt;The plot of the poem is fairly simple: a beautiful woman is out gathering flowers when she is killed suddenly by a personified Death; she dies among the flowers, which try to save her and then mourn her, and then her body is repurposed, turned both into natural fertilizer and precious objects. We were particularly fascinated by the ending (possibly William\u2019s), in which her body is made to serve both the letter and the spirit of poetry: her memory inspires \u201cpoetic flames,\u201d and her dissolved body becomes a \u201cpurer dust\u201d which poets use to \u201cgild their every line\u201d\u2014likely a reference to the blotting sand, pin dust, or pounce which was used to dry ink and could sometimes leave a sparkly residue on a page (see the note on line 69 for more detail). It was a common trope that beautiful women inspired beautiful poetry in the seventeenth century, but seldom do we see a woman\u2019s body literally figured as the dust that makes a poetic line literally sparkle.&lt;\/p&gt;\n&lt;p&gt;We invite our readers to ask, as they read: why would Cavendish write a poem focused not on the life of the woman, but on the afterlife of her body and its re-integration into nature? How do the posthuman aspects of and the sentient flowers in this poem connect to those in Cavendish\u2019s &lt;a href=&quot;https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/2019\/05\/04\/of-sense-and-reason-exercised-in-their-different-shapes-from-philosophical-fancies\/&quot;&gt;\u201cOf Sense and Reason Exercised in their Different Shapes\u201d&lt;\/a&gt; (on this website)? Does it change our reading of \u201cSurprisal of Death\u201d to know that the latter 23 lines might have been written by William rather than by Margaret? Can we detect changes of style or of purpose as the authorship changes? We also invite our readers to pay attention to changes of verb tense, and the moments where the poem switches from past tense to present, as if the moment of her death freezes time, or brings us to the reader\u2019s present.&lt;\/p&gt;\n&lt;p&gt;This poem was edited by Liza Blake and Sean Morgado in a modernized best text edition. We compared the EEBO versions of the 1656 and 1671 versions of the text, as well as several copies of the first edition that Cavendish corrected in her own hand, and made a best-text version of the poem. Textual notes show substantive variants across editions, and note any hand corrections; explanatory notes explain vocabulary and other references, and analyze variants. In most cases definitions come from the &lt;i&gt;Oxford English Dictionary Online&lt;\/i&gt;.'><sup>1<\/sup><\/a><\/span><i> a virgin\u2019s turn a<\/i><span id='easy-footnote-2-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-2-2741' title='a] her 1671'><sup>2<\/sup><\/a><\/span><i> tale to tell,<br \/>\nFor youth and modesty did fit it well.<\/i><\/p>\n<p>A company of virgins young did meet;<br \/>\nTheir pastime was to gather flowers sweet.<br \/>\nThey<span id='easy-footnote-3-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-3-2741' title='They] And 1656'><sup>3<\/sup><\/a><\/span> white straw hats upon their heads did wear,<br \/>\nAnd falling feathers, which waved with the air,<br \/>\nFanning their faces like a Zephyrus<span id='easy-footnote-4-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-4-2741' title='i.e., a westerly wind, or more generally a mild or gentle breeze'><sup>4<\/sup><\/a><\/span> wind,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 5<br \/>\nShadowing the sun, that strove their eyes to blind.<br \/>\nAnd in their hands they each a basket held,<br \/>\nWhich baskets they with fruits or flowers filled.<br \/>\nBut one amongst the rest such beauty had,<br \/>\nThat Venus for to change might well be glad<span id='easy-footnote-5-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-5-2741' title='for to change] i.e., Venus would be willing to change bodies with the \u201cone amongst the rest,\u201d implying that this particular woman is more beautiful even than the notoriously beautiful goddess Venus.'><sup>5<\/sup><\/a><\/span>:\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 10<br \/>\nHer shape exact; her skin was smooth and fair;<br \/>\nHer teeth white, even set; a long curled hair;<br \/>\nHer nature modest; her behavior so,<br \/>\nAs when she moved the Graces seemed to go.<br \/>\nHer wit was quick, and pleasing to the ear,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 15<br \/>\nThat all who heard her speak straight<span id='easy-footnote-6-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-6-2741' title='straight] i.e., immediately'><sup>6<\/sup><\/a><\/span> lovers were\u2014<br \/>\nBut yet her words such chaste love did create<br \/>\nThat all impurity they did abate.<br \/>\nIn<span id='easy-footnote-7-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-7-2741' title='In] And 1671'><sup>7<\/sup><\/a><\/span> every heart or head, where wild thoughts live,<br \/>\nShe did convert, and wise instructions give, \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 20<br \/>\nFor her discourse such heavenly seeds did sow<br \/>\nThat where \u2019twas<span id='easy-footnote-8-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-8-2741' title='\u2019twas] she 1671'><sup>8<\/sup><\/a><\/span> strewed, there virtues up did grow.<br \/>\nThese virgins all were in a garden set,<br \/>\nAnd each did strive the finest flowers to get.<br \/>\nBut this fair lady on a bank did lie\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 25<br \/>\nOf most choice flowers, which did court her eye,<br \/>\nAnd every one did bend their heads full low,<br \/>\nBowing their stalks, which from the roots did<span id='easy-footnote-9-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-9-2741' title='which from the roots did] from off the Roots they 1656'><sup>9<\/sup><\/a><\/span> grow.<br \/>\nAnd when her hands did touch their tender leaves,<br \/>\nEach<span id='easy-footnote-10-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-10-2741' title='Each] They 1656'><sup>10<\/sup><\/a><\/span> seemed to kiss, and to her fingers cleaves.<span id='easy-footnote-11-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-11-2741' title='The change to present tense here is likely a result of her desire to have the couplet be a perfect rhyme. Cavendish alters verb tense or conjugation in other poems for the purpose of making more perfect rhymes.'><sup>11<\/sup><\/a><\/span>\u00a0\u00a0\u00a0 \u00a0 30<br \/>\nBut she, as if in nature \u2019twere a crime,<br \/>\nWas loath to crop their stalks in their full prime,<br \/>\nBut with her face close to those flowers lay,<br \/>\nThat through her nostrils those sweets might find way\u2014<span id='easy-footnote-12-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-12-2741' title='those sweets might find way\u2014] might their sweets convey. 1656. Note that the \u201csweets\u201d are the aromas of the flowers, not the flowers themselves.'><sup>12<\/sup><\/a><\/span><br \/>\nNot for to rob them, for her head was full\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 35<br \/>\nOf flow\u2019ry fancies, which her wit did pull<br \/>\nAnd posies made, the world for to present:<br \/>\nMore lasting were, and of<span id='easy-footnote-13-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-13-2741' title='More lasting were, and of] VVith a more lasting and 1671. The 1671 variant offers a different interpretation of the line: whereas in the 1656 edition both the imaginary \u201cposies\u201d and their scent endure, in the 1671 edition it is only the scent that is long-lasting. Because in early modern English \u201cposies\u201d signified both an arrangement of flowers and poetry, the editors decided to preserve the 1656 variant, as Cavendish refers to the ability of poetry to endure in other poems (see, e.g., &lt;a href=&quot;https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/2019\/05\/04\/to-the-reader-2\/&quot;&gt;\u201cTo the Reader\u201d&lt;\/a&gt; where she thinks about how her poetry may build her a \u201cpyramid of praise\u201d).'><sup>13<\/sup><\/a><\/span> a sweeter scent.<br \/>\nBut as she lay upon this pleasant<span id='easy-footnote-14-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-14-2741' title=' pleasant] pleased 1656. Note that if one argues that the 1656 edition was not a typographical error but an authentic variant, then the text could indicate that the bank itself is the subject of \u201cpleased,\u201d possibly giving a posthuman alternative to the line\u2019s meaning.'><sup>14<\/sup><\/a><\/span> bank,<br \/>\nFor which those flowers did great Nature thank,\u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 40<br \/>\nDeath envious grew they<span id='easy-footnote-15-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-15-2741' title='they] she 1671. Note that the 1656 variant \u201cthey\u201d indicates that Death is envious of the flowers\u2019 delight in the presence of the beautiful virgin. The 1671 variant suggests it is the beautiful virgin\u2019s delight which engenders Death\u2019s envy. The editors decided the 1656 variant corresponded better with the previous line, which discusses the flowers\u2019 gratitude.'><sup>15<\/sup><\/a><\/span> such delight did take,<br \/>\nAnd with his dart a deadly wound did make.<br \/>\nA sudden cold did seize her every limb,<br \/>\nWith which her pulse beat slow and eyes grew dim.<br \/>\nSome that sat by observed her pale to be,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 45<br \/>\nBut thought it some false light, yet<span id='easy-footnote-16-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-16-2741' title='yet] but 1656'><sup>16<\/sup><\/a><\/span> went to see.<br \/>\nAnd when they came, she turned her eyes aside,<br \/>\nSpread forth her arms, then stretched, and sighed, and died.<br \/>\nThe frighted virgins ran with panting breath<span id='easy-footnote-17-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-17-2741' title='A marginal handwritten note next to lines 49\u201352 in the British Library\u2019s copy of the 1656 &lt;i&gt;Nature\u2019s Pictures &lt;\/i&gt;(shelfmark G.11599; also the copy uploaded to EEBO) reads: \u201cThes verses to [th]e end are my [L]ord marquisses.\u201d Notes like these appear throughout the 1656 &lt;i&gt;Nature\u2019s Pictures&lt;\/i&gt; in certain copies, though not always in the same places or in the same hand, and attribute sections of the text to her husband William Cavendish, then Marquess of Newcastle. The second edition of 1671 does not mark these lines as a product of her husband\u2019s collaboration. These lines also have a marginal note in the following copies that Blake has consulted: British Library, shelfmark 841.m.25 (\u201cfrom this plac to the end of this chapter my lord writt\u201d\u2014in Margaret Cavendish\u2019s hand); Hendrik Conscience Heritage Library, shelfmark C 1039:4:ex.1 (\u201c[Fr]om this place [to] [th]e end Written [by] my Lord &amp;#8211; Marquisse\u201d); and Hendrik Conscience Heritage Library, shelfmark C 1039:4:ex.2 (\u201c[F]rom this place [to] [th]e end of [th]e [c]hapter is my [L]ord Marquis\u201d). On collaborative authorship between Margaret and William in Cavendish\u2019s second volume of plays, see Jeffrey Masten, \u201cMargaret Cavendish: Paper, Performance, \u2018Sociable Virginity,\u2019\u201d &lt;i&gt;Modern Language Quarterly&lt;\/i&gt; 65 (2004), 49\u201368.'><sup>17<\/sup><\/a><\/span><br \/>\nTo tell the sadder story of her death,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 50<br \/>\nThe whilst the flowers to her rescue bend,<span id='easy-footnote-18-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-18-2741' title='As the flowers bend to the rescue of the virgin, the poem shifts from describing them as merely &lt;i&gt;seeming&lt;\/i&gt; to have human attributes (see l. 30), to full-blown anthropomorphism.'><sup>18<\/sup><\/a><\/span><br \/>\nAnd all their med\u2019cinable virtues send.<br \/>\nBut all in vain: their power\u2019s too weak; each head<br \/>\nThen drooped, seeing<span id='easy-footnote-19-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-19-2741' title='seeing] when found 1656'><sup>19<\/sup><\/a><\/span> they could not help the dead.<br \/>\nTheir fresher colors did<span id='easy-footnote-20-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-20-2741' title='did] will 1656. Note that as with the changing verb tenses in the previous lines, this difference has significant ramifications on the poem\u2019s interpretation: the 1671 \u201cdid\u201d keeps you in the past tense of the story (and implies that the flowers suddenly wilt), while the future \u201cwill\u201d projects to the future of the flowers\u2019 colors. The editors chose \u201cdid\u201d to correspond to the lines around it, which consistently use past tense.'><sup>20<\/sup><\/a><\/span> no longer stay,\u00a0\u00a0\u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0\u00a0 55<br \/>\nBut faded straight and withered all away.<br \/>\nFor tears they dropped their leaves, and thought it meet<br \/>\nTo strew her with them as her<span id='easy-footnote-21-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-21-2741' title='her] a 1671'><sup>21<\/sup><\/a><\/span> winding sheet.<br \/>\nThe airy<span id='easy-footnote-22-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-22-2741' title='airy] A\u00ebry 1656. The 1671 edition\u2019s spelling of \u201cairy\u201d gives this line a regular (with respect to the rest of the poem) ten syllables; the 1656 edition\u2019s umlaut makes \u201cA\u00ebry\u201d into a three-syllable word. The difference is between a line made up of two iambs and two anapests (the 1671 version: \u201cthe A\/ry CHOR\/is-ters HOV\/ered a-BOVE\u201d), and a line made up of an iamb followed by three anapests (the 1656 version: \u201cthe A\/e-ry CHOR\/is-ters HOV\/ered a-BOVE\u201d).'><sup>22<\/sup><\/a><\/span> choristers hovered above,<br \/>\nAnd sang<span id='easy-footnote-23-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-23-2741' title='sang] sung 1656, 1671. The editors modernized this to the standard past tense form.'><sup>23<\/sup><\/a><\/span> her last sad funeral song of love.<span id='easy-footnote-24-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-24-2741' title='It is not entirely clear whether the airy choristers imagined here are angels or birds; given the vaguely secular nature of the rest of the poem, the editors guess birds, though the poem leaves it ambiguous.'><sup>24<\/sup><\/a><\/span>\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 60<br \/>\nThe Earth grew proud, now having so much honor,<br \/>\nThat odoriferous<span id='easy-footnote-25-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-25-2741' title='The word \u201codoriferous\u201d in early modern English means &lt;i&gt;sweet&lt;\/i&gt;-smelling or fragrant. In hagiography or saint\u2019s lives, a saint\u2019s body would often be described as miraculously preserved or good-smelling, so the fact that her body smells pleasant after her death, in tandem with her quasi-saintly life (see the description of how her words could abate \u201cimpurity,\u201d and \u201cconvert\u201d wild hearts and heads, and \u201csow\u201d virtues in others, in lines 17\u201322), perhaps suggests the virgin is meant to be understood as a kind of (secular?) saint.'><sup>25<\/sup><\/a><\/span> corpse lying<span id='easy-footnote-26-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-26-2741' title='lying] to lye 1656'><sup>26<\/sup><\/a><\/span> upon her.<br \/>\nWhen that pure virgin\u2019s stuff dissolved in dew,<span id='easy-footnote-27-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-27-2741' title='Next to lines 63\u201365 is a curly bracket emphasizing the triplet (three lines rhyming together); early modern printers often marked triplets in this way.'><sup>27<\/sup><\/a><\/span><br \/>\nWas the first cause new births of flowers grew,<br \/>\nAnd added sweets to those it did renew.\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0 \u00a0\u00a0 65<br \/>\nThe grosser parts the curious soon did take;<br \/>\nOf it transparent porcelain<span id='easy-footnote-28-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-28-2741' title='In both editions of the poem the word used is \u201cPurslain,\u201d but the editors have modernized this as \u201cporcelain\u201d because \u201cpurslane\u201d (a kind of succulent) made less sense in the context.'><sup>28<\/sup><\/a><\/span> they did make.<br \/>\nHer purer dust they keep for to refine<br \/>\nBest poets verse and gild their<span id='easy-footnote-29-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-29-2741' title='gild their] gild 1671'><sup>29<\/sup><\/a><\/span> every line.<span id='easy-footnote-30-2741' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741#easy-footnote-bottom-30-2741' title='As was mentioned in the introductory note (see the note on line 1), these lines suggest that part of her body is processed into a \u201cdust\u201d that is used to \u201cgild\u201d or decorate poetic lines. This is likely a reference to the early modern practice of using blotting sand, also called pounce or pin dust, to dry ink, which would sometimes leave behind sparkly residue. For an article on pounce in Cavendish\u2019s books, see Liza Blake, \u201cPounced Corrections in Oxford Copies of Cavendish\u2019s &lt;i&gt;Philosophical and Physical Opinions&lt;\/i&gt;; or, Margaret Cavendish\u2019s Glitter Pen,\u201d &lt;i&gt;New College Notes&lt;\/i&gt; 10 (2018), no. 6: 1\u201311 (you can access the article here: &lt;a href=&quot;https:\/\/www.new.ox.ac.uk\/node\/1804&quot;&gt;https:\/\/www.new.ox.ac.uk\/node\/1804&lt;\/a&gt;).'><sup>30<\/sup><\/a><\/span><br \/>\nAnd all poetic flames she did inspire,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0\u00a0 70<br \/>\nSo her name lives in that eternal fire.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The next, a virgin\u2019s turn a tale to tell, For youth and modesty did fit it well. A company of virgins young did meet; Their pastime was to gather flowers sweet. They white straw hats upon their heads did wear, And falling feathers, which waved with the air, Fanning their faces like a Zephyrus wind,\u00a0\u00a0\u00a0 &hellip; <a href=\"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/?p=2741\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">The Surprisal of Death (from Nature&#8217;s Picture(s))<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[244],"tags":[],"class_list":["post-2741","post","type-post","status-publish","format-standard","hentry","category-bonus-poems"],"_links":{"self":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2741"}],"version-history":[{"count":5,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2741\/revisions"}],"predecessor-version":[{"id":2746,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=\/wp\/v2\/posts\/2741\/revisions\/2746"}],"wp:attachment":[{"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/library2.utm.utoronto.ca\/poemsandfancies\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}