Replacing John Donne in The History of Sexuality

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ELH, Volume 72, Number 1, Spring 2005, pp. 259-289 (Article)
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DOI: 10.1353/elh.2005.0002
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http://muse.jhu.edu/journals/elh/summary/v072/72.1bach.html
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(RE)PLACING JOHN DONNE IN THE HISTORY OF
SEXUALITY
BY REBECCA ANN BACH
In 1937, after three novels recounting episodes from “[n]early six

years” of Lord Peter Wimsey and Harriet Vane’s courtship, Dorothy
Sayers published Busman’s Honeymoon, in which she shows us Lord
Peter and Harriet married and on the threshold of sexual engage-
ment.1 Both Lord Peter and Harriet love, and love by means of, John
Donne’s poetry. In a diary entry in Busman’s’ first chapter, Peter’s
mother, the marvellous Honoria Lucasta, Dowager Duchess of
Denver, writes “Peter has always been queer about Donne.”2 Late in
the novel, Harriet reveals to Peter that before their marriage, she
spent all the money she had made in a career writing mystery novels
on her trousseau, and she was, therefore, reduced to writing “[t]hree
five-thousand-word” short stories “at forty guineas each for the Thrill
Magazine” in order to afford to buy Peter his premarital gift: “a very
beautiful” autograph “letter from D. to a parisioner—Lady Some-
body—about Divine and human love.”3 When he receives this gift
from bride to groom, Peter tells his Mother that having tried to buy
the letter himself and learning that “it had been sold,” he had been
“ridiculously angry” because he “wanted [it] for Harriet.”4 Sayers
writes of Harriet’s and Peter’s love of Donne, and she also writes their
love through Donne’s poetry. When Harriet and Peter fall silent,
sitting on a wooden seat in a chuchyard, Busman’s’ narrator wonders
“[w]hether, left to themselves, [Harriet and Peter] would have
succeeded in emerging from this speechless trance, and might not, in
the manner of Donne’s ecstatic couple, have remained like sepulchral
statues in the same posture and saying nothing until nightfall.”5 This
reference to Donne’s poem “The Extasie” is only one of the many
specific Donne references with which Sayers salts the Peter Wimsey-
Harriet Vane relationship.
On their wedding night, Harriet and Peter kiss deeply and “at
some point during the next five minutes” of foreplay, Harriet hears
Peter “murmur, ‘Not faint Canaries but ambrosial.’” Peter’s Donne
quotation, which the distracted Harriet tracks down “only . . . some
Rebecca Ann259–289
ELH 72 (2005) Bach © 2005 by The Johns Hopkins University Press 259
ten days later,” comes from a Donne elegy, “Loves Progress,” a poem
explicitly about the act of intercourse between a man and a woman.6
Nevertheless, “[n]ot faint Canaries but ambrosial” is a particularly
queer reference for Sayers to insert into the Vane-Wimsey story. The
line appears in “Loves Progress” as a description of the lips a man
might kiss on his way to what the poem, in a coy and simultaneously
brutal moment, calls “the Centrique part,” the woman’s vagina, the
“part” that the poem’s speaker believes is the only reason for a man to
pursue a woman, the part apart from which a woman is worth
nothing.7 “Loves Progress” describes the routes a man might take to
that “Centrique part,” a place that the poem compares to the “pits
and holes” in which men laid “their sacrificing coales” when they
worshipped such gods as “Pluto” and “Cupid” (E, 28–36). “Loves
Progress” may call the lips “Ambrosiall,” but the poem also states,
clearly, that though the lips “seem all” they are the origin of “Syrens
songs” and the home of “The Remora” (E, 52–58), “The sucking-fish
(Echeneis remora), believed by the ancients to have the power of
staying the course of any ship to which it attached itself.”8 The poem’s
speaker advises men to pursue the vagina from the feet up rather
than by way of the lips. After all, the poem states, women are useful
and worthy of pursuit only because they have the one thing men do
not have—the vagina—“that by which they,” women, “are not they,”
men (E, 20). According to the speaker, men are deeply mistaken if
they chase women because they have “Vertue,” for they do not:
“Makes virtue woman? Must I cool my blood / Till I both bee, and
find one, wise and good? / May barren Angels love so” (E, 21–23).
Men who are not “barren Angels” would do well to go directly after
what they come to women for. To pursue a woman’s vagina by means
of her head and lips, the poem concludes, is to err as much as a man
“who by the Clyster [an enema] gave the stomach meate” (E, 96). Any
modern or postmodern reader’s stomach turning yet?
We might productively wonder how Sayers could have used a line
from this misogynistic screed dressed in glorious poetry during the
lovemaking of her dream heterosexual couple—Peter Wimsey, the
sensitive, intelligent, aristocratic detective, and Harriet Vane, the
(almost) equally intelligent, scholarly, courageous writer. Through
what deep misreading of Donne in the history of sexuality has this
early-seventeenth-century poet become the apostle of modern het-
erosexuality? For Dorothy Sayers is by no means alone in seeing
Donne this way. Although twentieth-century literary scholars have
argued strenuously about Donne’s poetry and his life, those scholars
260 (Re)placing Donne in the History of Sexuality

are virtually united in seeing him as a lover of women, implicitly
(since for most of the twentieth century this has gone without saying)
a heterosexual; and in the late twentieth century a tenuous consensus
seems to have formed about the relationship of Donne’s poetry and
life to sexuality. That consensus extends across a range of critical
approaches. Simply put, John Donne, according to his critics, was a
heterosexual man. One of the most astute of Donne’s critics, Janel
Mueller, writes about “the adult male sexuality” promoted in Donne’s
love poetry; and what she means by “adult male sexuality” is clear
throughout her fine analysis of Donne’s poetry within the context of
the metaphysical poetic tradition.9 She notes the “intense, nuanced
subjectivities ascribed to [Donne’s] male speakers and the sturdiness
of their characterization as active heterosexuals.”10 Given her femi-
nist perspective, Mueller celebrates Donne’s orientation toward what
she reads as sexual equality between men and women while, at the
same time, she notes the drive in much of Donne’s poetry to
celebrate what she calls “male prerogative.”11 Sometime in the early
1990s, when the purport of Michel Foucault’s work on the history of
sexuality became clear within literary scholarship, critics grew leery
of straight (the pun is intended) pronouncements about a
transhistorically available heterosexual identity. Nevertheless, two
more fine critics, Catherine Belsey and Richard Halpern, agree with
Mueller’s assessment of Donne’s sexuality.12 Both assert that, if
Donne was not a subscribing heterosexual himself, at least he helped
to found that identity. Belsey suggests that “desire . . . has its own
political history, and Donne’s poems in particular belong on the
threshold of its modernity.”13 Halpern goes further, declaring that “it
is from the ashes of [Ann and John Donne’s] social death that the
phoenix known as sexuality is born.”14 More recently, Benjamin
Saunders writes slightly more cautiously than these other critics. He
asserts that Donne’s poetry “was written on the historical cusp of a
transformation” from a medieval to a more modern “paradigm” of
sexuality.15 Still, in Saunders’s theoretically informed analysis of a
prefatory poem to the 1633 edition of Donne’s poetry, it seems clear
on which side of the divide Donne’s explicitly sexual poetry belongs.
If Donne did not initiate sexuality, his poetry reveals him as a
heterosexual avant la lettre.
In this reading of Donne’s oeuvre, I will take issue with this
consensus. Not only will I suggest that Donne was not a heterosexual,
I will also argue that, pace Belsey, Halpern, and Saunders, hetero-
sexuality was not emergent in 1609 when Donne was writing his
Rebecca Ann Bach 261

poetry, or at least that it was not, at that point in time, any more
emergent than it had been for the previous few hundred years and
more. I will also contend that in order to make Donne a figure for
heterosexuality or emergent heterosexuality these critics have had to
argue against Donne’s poetry and prose to an unjustifiable extent; in
fact, their arguments might reveal the implicit New Critical stand-
points of critics practicing long after the New Criticism is assumed to
have died and been buried.16 These critics are all sophisticated and
learned scholars, as was Sayers. But unlike Sayers, these late-
twentieth-century critics were trained and are practicing after the
heyday of the New Criticism: among other theoretical paradigms in
each case, Saunders’s criticism is informed by deconstruction and
new historicism, Halpern’s by Marxism and psychoanalysis, Belsey’s
by feminism, psychoanalysis, and deconstruction, and Mueller’s by
feminism. Despite their disparate trainings and orientations, all of these
critics refuse to take Donne’s own writing about his experiences with
sex seriously. In addition, none of these critics is comfortable dealing
with the virulent sexual misogyny that pervades Donne’s oeuvre—
Mueller is really the only one of these critics who acknowledges that
aspect of Donne’s poetry and prose, and she acknowledges it only to
discount it as not Donne’s reality. Most of these critics also refuse to
take Donne’s religious life seriously, or at least refuse to believe that
his religious life conditioned his poetic portrayals of sex and women.17
The telling exception to the general neglect of Donne’s sexual
misogyny is Christopher Ricks, who in 1988 writes eloquently and
despairingly about the misogyny in Donne’s love poems, misogyny he
calls Donne’s “Postcoital sadness and revulsion.” Significantly, Ricks
sees that revulsion towards women as self-destructive on Donne’s
part. In Ricks’s terms, the revelations in the poetry that sex is
degrading and women are degraded are antithetical to the poems’
“integrity.” Ricks claims that Donne “is corrosively unfaithful to his
poems.”18 Ricks is a brilliant reader of Donne, and unlike many of
Donne’s readers, Ricks does not shy from the hatred of women that
he sees in the poetry. While most critics avoid the blatant disgust with
women and lust that pervades the oeuvre, Ricks is willing to write
about that disgust and to hate it. However, the way that Ricks frames
Donne’s misogyny reveals more about Ricks’s own place in the history
of sexuality than it does about Donne’s. As we will see, the conviction
that sexual desire is at the center of the self is a feature of modernity.
Donne’s disgust with sex can only be a denial of his true self if his true
self is formed in sexual desire.

Rather than revealing him as an active heterosexual man, as a
heterosexual avant la lettre, or as a proponent of a new system that
would become heterosexuality, Donne’s poetry and prose reveal him
as a man living within an ideological system opposed to all the major
tenets of what would become heterosexuality—a system wedded to
the principles that women are naturally inferior to men and, there-
fore, naturally more sexually desirous (and unfaithful); that a man’s
relationship with God is primary, that his relationships with men are
secondary, and that any sexual engagement with women runs a
distant third; and that sexual desire is sinful, a worldly result of the
original sin of our first parents. On the face of it, the claim that
Donne was not a heterosexual may seem patently ridiculous. Donne
obviously loved having sex with women. In some of his poems, his
speakers sound like stereotypically sex-obsessed fraternity brothers,
in others like the sensitive men of Cosmopolitan magazine dreams,
and in others like Larry Flynt of Hustler fame.19 Donne sacrificed his
career to elope with a woman he loved. How could such a man not be
a heterosexual? The answer to that question is clear for many
generations of Donne critics—he looks like one, so he is. This
implicit understanding of his sexuality has been unquestioned since
his revival as a major love poet in the early twentieth century. The
explicit answer more recently has been, as I have shown, the same: he
looks like a heterosexual, so he either is one or he anticipates or even
produces modern heterosexuality. My answer will be very different
because it takes into account the history of sexuality in a way that is
only flirted with by the astute critics I have already mentioned. These
critics might nod to the idea that sexuality and sexual identity have
histories, but they do so only to suggest, finally, that because Donne
looks so much like a modern heterosexual, he must be part of the
foundation of heterosexuality. I would argue that, despite the fact
that Donne’s sexual practices and the way he represents sex resemble
modern sexual practices and the way sex might be represented today,
his ways of understanding and representing sexual practices differen-
tiate him utterly from modern heterosexuality.
II. “SEXUALITY” HAS A HISTORY
In his seminal book on the history of sexuality, David Halperin

offers, against the notion of a transhistorical and transcultural notion
of sexual identity, the example of “the New Guinea tribesman and
warrior who from the ages of eight to fifteen has been orally

inseminated on a daily basis by older youths, and who, after years of
orally inseminating his juniors, will be married to an adult woman and
have children of his own.” Citing this example among others,
Halperin asks if this warrior “share[s] the same sexuality with the
modern homosexual.”20 We can recast Halperin’s question, as his own
work might lead us to do, in relation to Donne as a heterosexual.21
Donne, according to himself, wasted his youth in the very pleasurable
pursuit of sex with women. At the same time, he was involved in deep
love relationships with male friends until a profligate pursuit of one
woman—Ann More, who became his wife—exiled him, for a time,
from the circles of male friendship that constituted his life. He
consoled himself with his marital partner, but he deemed that
consolation inadequate on all counts. Readmitted to the circle of
men, he repented his earlier sinful nature and repudiated his wasted
youth. Throughout his life, he saw women as over-sexed and naturally
unfaithful. Did John Donne “share the same sexuality with the
modern” heterosexual? When we align him with heterosexuality we
make a mistake of category. Arnold Davidson suggests that
[c]hastity and virginity are moral categories denoting a relation

between the will and the flesh; they are not categories of sexuality.
Although we tend to read back our own categories of sexuality into
older moral categories, partly because it is so difficult to distinguish
them precisely, it is crucial . . . that we separate the two. Blurring the
two kinds of categories leads to epistemological and conceptual lack
of differentiation, and results in the historiographical infection that
the great French historian of science Georges Canguilhem has called
the “virus of the precursor.” We perpetually look for precursors to
our categories of sexuality in essentially different domains, producing
anachronisms at best and unintelligibility at worst.22
According to Davidson, the modern system of sexuality partakes of

what he calls “the psychiatric style of reasoning,” under the reign of
which people understand themselves as sexual subjects. Heterosexu-
ality (and its cohort homosexuality) posit “sexuality as a constituitive
principle of the self.”23 Depicting Donne’s experiences with sex,
which he understands in terms of moral categories, according to our
conception of heterosexuality, which we understand in terms of
psychology, has a number of destructive consequences when we
assess Donne’s poetry, prose, and life.
To begin with, we mistake as constitutive of the self the very
experiences that Donne categorizes as corrosive to the soul. We also

discount everything Donne says about his own life and experiences
and everything that his contemporaries said was true about his life
and experiences as somehow inadequate or untrue to the self we have
created for him under the influence of our “psychiatric style of
reasoning.” In other words, since we, as moderns, believe that
sexuality is constitutive of the self, we feel justified in dismissing
Donne’s own categorization of his experience of sex as corrosive to
the soul.24 We either completely dismiss Donne’s own words as
denying the truth of Donne’s self, or we consider only the evidence
that can be persuasively read for the case that Donne constitutes his
self in (hetero)sex. At best this is circular reasoning. More impor-
tantly, this way of reading Donne, in Davidson’s words, produces
“unintelligibility.” Recent work on religion in Donne’s England
reminds us forcefully that divines such as Donne were immersed in
both “ancient culture” and the quarrels and consensuses that made
up “European Christianity.”25 How are we justified in writing about
Donne as if he were instead studying Freud? Donne’s writings show
him as understanding the relationships between men and between
men and women in ways that are quite foreign to a Freudian or
Lacanian or psychiatric world. As Debora Shuger suggests, “In
Renaissance texts the movement of eros is inward and down, so that
sexuality becomes an inflection of erotic longing, not its origin or
essence, whereas in modern thought, which privileges genital sexual-
ity, movement takes place outward and up via cathexis and sublima-
tion.”26 However, none of this scholarship is pertinent if we see the
self constituted in sexuality, in which case everything that might
trouble this account of the self is detritus or a simple denial of what
we know to be the truth of the self.27 In Donne’s case, under the
(covert in some cases) influence of the “psychiatric style of reason-
ing,” “the virus of the precursor” has replicated into a full-blown and
deadly disease.
“Wait!” I can hear Donne critics and lovers shouting, “How can
you ignore (deny) Donne’s frank admission of his (hetero)sexual
pleasure, his speakers’ attempts to separate sex from the religious
context, his rewriting of religious categories as sexual categories, his
life?!” Davidson warns of the difficulty of distinguishing “older moral
categories” from “our own categories of sexuality.” Donne’s oeuvre is
a wonderful case in point for that caution. Donne’s admission of his
own sexual pleasure with women is easily confused with modern
heterosexuality. However, that admission is only evidence that Donne
is heterosexual if we forget that from time immemorial people have

connected sex with pleasure. Thomas Aquinas, classifying lust as a
contrary vice to temperance, explains that “lust applies chiefly to
venereal pleasures, which more than anything else work the greatest
havoc in a man’s mind.”28 Well aware that lust is pleasurable, Aquinas
classifies sexual lust as the most disturbing and powerful of the
pleasures. Nevertheless, Aquinas’s classificatory system is far from
modern: he categorizes what he calls “venereal pleasures” as only one
of the types of lust; and his concern is the difficulties it, among the
other sorts of lust, causes for men’s minds, minds that should be
directed to God. Donne, who uses Aquinas’s classifications, is much
closer to Aquinas’s “moral” understanding of lust than he is to a
modern understanding, in which lust overwhelmingly means sexual
desire and in which lust, now renamed sexual satisfaction, is integral
to a good life. In order to distinguish between earlier depictions of
sexual pleasure and modern depictions of sexual pleasure, we must
move beyond pointing to pleasure as some indication of modernity.
III. SEX AND SIN
Most of Donne’s critics are embedded in a twentieth-century

approach to Donne that assumes that the self is constituted in sexual
desire and that separates, as he could not have, the “sacred” from the
“secular.”29 While Ricks, Belsey, and Halpern simply ignore Donne’s
spirituality as (implicitly) irrelevant to the question of sex and desire
in Donne’s poetry, Saunders, to his credit, at least addresses the
possibility that the two realms might not be separate for Donne. In
his reading of one evocative line in Thomas Browne’s commendatory
poem, Saunders, unlike these other critics, acknowledges that “sexual
desire cannot be conceived apart from the forms of its inscription,”
which in Donne’s case were spiritual.30 He argues that Browne’s poem
claims that despite the presence of “looser” poems in the 1633 edition
of Donne’s poetry, “Donne really is a model of Christian virtue after
all. It is only because of Donne’s evident imperfections that Browne
can represent Donne as even potentially perfectible. In short, Donne
might be a saint precisely and only because he makes no attempt to
disguise his essentially sinful nature.”31 However, if Browne intended
to promote Donne’s poetry this way in 1633, Donne himself, on the
evidence of his poetry and prose, was not nearly so sure that his sinful
sexual nature might ensure his election as a Calvinist saint.
Izaak Walton, Donne’s seventeenth-century biographer, compares
him to Augustine: “for, I think, none was so like him before his

Conversion: none so like St. Ambrose after it: and if his youth had the
infirmitie of the one, his age had the excellencies of the other, the
learning and holiness of both.”32 St. Ambrose, Augustine’s teacher
and confessor, was renowned for his sermons and also for his
promotion of virginity. Walton sees Donne’s life as modeled after
Augustine’s, and it seems evident from Donne’s own poetry and prose
that he saw Augustine’s youthful experiences with sex and his
subsequent renunciation of desire as analagous to his own. In book 2
of the Confessions, Augustine writes:
I collect my self out of that broken state in which my very being was
torn asunder because I was turned away from Thee, the One, and
wasted myself upon the many. Arrived now at adolescence I burned
for all the satisfactions of hell, and I ran to the animal in a succession
of dark lusts: my beauty consumed away, and I stank in Thine eyes,
yet was pleasing in my own and anxious to please the eyes of men.33
Perhaps consciously modeling his own persona after Augustine’s, in

Essays in Divinity Donne thanks God for delivering him “from the
Egypt of lust, by confining [his] affections.”34 In his funerary poem
for Lord Harrington, the Countess of Bedford’s brother, Donne
admires Harrington for fighting “with [his] owne affections, with the
heate of youths desires” and for providing an example from his own
life against the “lust and ignorance of youth.”35 Throughout his
writings later in life, Donne rails against man’s sinful nature and
excoriates his own forays into sin. He prays that by confessing his
earlier sinful relations with women he will save his soul.
The “psychiatric style of reasoning” finds this spiritual self-produc-
tion so alien that it ignores or dismisses Donne’s spirituality alto-
gether. Therefore, pronouncements about Donne’s essential devotion
to sexual pleasure must—in order not to founder on what looks too
odd or upsetting—confine themselves to the handful of frequently
anthologized songs and sonnets: “A Valediction: Forbidding Mourn-
ing,” “The Exstasie,” “The Relique,” “The Flea,” “The Sunne Rising,”
and “The Good-morrow.” This reading of a very limited canon is, of
course, an entirely suspect critical move, since these are only six
poems from a copious oeuvre of poetry and prose.36 Meanwhile, even
if we do confine our analysis of how sex/love is represented to the
songs and sonnets—the location of these “love poems”—we find a
very distinct, religiously motivated ambivalence about sex with women,
an ambivalence that pervades Donne’s literary endeavors. We find, in

addition, sex described using the vocabulary that Davidson would
term moral.37 For instance, in “The Flea” (the poem that opens the
1635 Songs and Sonnets), the speaker begs a woman not to consider
the act of intercourse “A sinne, or shame, or losse of maidenhead”
because a flea bite, which, like sex, would mingle the two lovers’
blood, could not be classified as sinful (E, 6). We may, and do, enjoy
this conceit today as a clever pseudo-argument that might work to
convince a woman to have intercourse, but we can only classify “The
Flea” as about modern heterosexuality if we ignore its vocabulary, or,
rather, if we pretend that its vocabulary is ours. Donne’s speaker
urges the woman to see their potential sex act as not sinful, but his
attempt to persuade her only functions if “sinne,” “shame,” and
“maidenhead” are the terms through which sex is understood.
Michael Warner argues forcefully that we live today with what he
calls “straight culture’s politics of shame.” Although Warner suggests
that we have inherited our “politics of shame” from the Middle Ages,
the shame attached to sexuality in our culture is not identical to the
shame associated with sex in the English Renaissance.38 Donne and
his culture subscribed to Augustinian shame, in which “[c]arnal
concupiscence is seen as a violation of the order of nature, and the
shame of sexuality is a consequence of the soul’s shame at the fact
that the body, which by its nature is inferior and subject to it, resists
its authority.”39 This is Donne’s world, as his poetry and prose attest.
For example, in the Holy Sonnet “Since she whome I lovd,” Donne
recognizes God’s rightful “doubt / Least the World, fleshe, yea Devill
putt [Him] out.40 The “fleshe,” in this poem, is the antithesis of God’s
will. A 1618 sermon finds Donne speculating on the moment in
which God visits Adam and Eve’s sin upon all babies, “conceived in
sin”: “the union of this soul and body is so accompanied with God’s
malediction for our first transgression, that in the instant of that
union in life, as certainly as that body must die, so certainly the whole
man must be guilty of original sin.”41 The body represents death and
man’s sinful nature, born with him. Since we moderns generally
conceive of the body as expressing or violating our personality
(conscious and unconscious) rather than as inherently inferior to the
soul, we conceive of shame and sexuality very differently from how
Donne does.42 If we have retained shame as a way to deal with sex,
much of modern culture—or at least the culture of the academy—
has discarded the categories of “sin,” “maidenhead,” and “the soul” as
the categories through which sex can be thought.

IV. SEX AND BLOOD
Like all serious ideological shifts, the move to a modern world that
thinks sex through personality was a massively uneven process.
Certainly many twenty-first-century Americans think about sex through
“sin” and “maidenhead” (see the sex education programs that teach
only abstinence, for example).43 However, we can see in “The Flea”
that for Donne 1) there are no alternative ways of conceiving of sex,
as there are, clearly, in modern America—for example, repression,
good sex, bad sex, enough sex, not enough sex; and 2) the poem’s
invocation of “sinne,” “shame,” and “maidenhead” resides in a
context of blood that is thoroughly foreign to a post-Victorian secular
or religious context. Michel Foucault sums up the argument of the
first volume of his History of Sexuality by suggesting that the pre-
modern Western world was “A society of blood . . . where power
spoke through blood . . . blood was a reality with a symbolic function.
We, on the other hand, are in a society of ‘sex,’ or rather a society
‘with a sexuality’: the mechanisms of power are addressed to the
body, to life, to what causes it to proliferate, to what reinforces the
species, its stamina, its ability to dominate, or its capacity for being
used.” According to Foucault the premodern world believed in “the
honor of war” and “the triumph of death” rather than in the intrinsic
value of human life—this latter value is the mark of a modern culture
which has “sexuality” as an identity category.44 Donne’s writings are
devoted to the triumph of God over death or, alternatively, to a vision
of life devoted to sin, life that will lead to death’s triumph. If we still
live, as Warner suggests, in a society with the “politics of shame,” we
no longer live in a society where power speaks through blood, where
a man founds his identity in his bloodline, and where sex has grave
consequences for bloodlines and for the soul. In addition, and
perhaps in consequence, shame over sexuality in our culture is
connected to two aspects of modernity: the public/private division
and the strict and structuring division between homosexuality and
heterosexuality. Neither of these divisions existed in Donne’s En-
gland.45
“The Flea,” of course, is a poem about blood, about how the act of
sex can be troped, with perhaps desirous results for the speaker, as an
act of blood-letting. The speaker compares his beloved’s killing of the
flea, whose insect body contains the lovers’ mingled blood, to a
Christian martyrdom. Donne’s is a premodern vocabulary of blood
and of death, not a modern sexual vocabulary of life.46 In “The Flea,”

Donne’s speaker insists that his potential act of intercourse is a little
death: “use make thee apt to kill mee” (E, 16). This is only one of
Donne’s allusions throughout his poetry to a cosmology in which male
sexual expenditure is equivalent to death, in which each ejaculation
moves a man closer to death. Donne refers directly to this medical
doctrine in a poem called “Farewell to Love”: “since each such Act,
they say, / Diminisheth the length of life a day” (E, 24–25). Donne’s
satirical unfinished poem “The Progresse of the Soule” also alludes to
this small death: “Man all at once was there by woman slaine, / And
one by one we’are here slaine o’er againe / By them.”47 In “An
Anatomy of the World,” the first of the anniversary poems Donne
wrote commemorating Elizabeth Drury’s death, the speaker returns
to the theme that men’s approach to death by means of sexual
expenditure is connected with Eve’s death-dealing embrace of Satan:
One woman at one blow, then kill’d us all,
And singly, one by one, they kill us now.
We doe delightfully our selves allow
To that consumption; and profusely blinde,
Wee kill our selves to propogate our kinde.48
These references cross the genres of Donne’s oeuvre: his satire, his
longer patronage poetry, his love poems, all of which belong to
Foucault’s earlier world of blood.49 In “The Flea,” killing the flea is
like a martyrdom, and sex is a bloody business.
Like “The Flea,” “The Good-morrow” (which opens the 1633
Songs and Sonnets) focuses on sex and death. In the poem’s third
stanza, Donne’s speaker claims, conditionally, that he and his ad-
dressee—his beloved—love one another “equally” and, therefore,
cannot die: “What ever dyes,” he argues, “was not mixt equally; / If
our two loves be one, or, thou and I / Love so alike, that none doe
slaken, none can die” (E, 19–21). This description of mixture depends
on alchemical doctrine, a doctrine born in a culture obsessed with
death, decay, and the transcendence of death: the equality of
elements in an alchemical mixture was proved when the resulting
potion did not decay. But in Donne’s world alchemy was a running
joke, practiced and simultaneously known as a figment of the desiring
imagination.50 Alchemy was an at-times laughable fiction practiced in
a culture preoccupied with death. And like so many of Donne’s other
poems, “The Good-morrow” plays on the die/orgasm pun. Donne
embeds the sexual joke in the line “Love so alike, that none doe
slaken, none can die.” Of course, as Donne’s speaker hints, in the act,

a man’s penis and desire do “slaken”; that slakening comes with
orgasm, in which the man “dies.” In the poem’s exalted register, the
speaker claims a potential transcendance of death, although he
figures that transcendence in terms of alchemy, a laughable doctrine
for deluded dreamers; in the poem’s embedded humor, he acknowl-
edges the inevitability of the little death.
As Sayers’s use of the “The Extasie” to imagine Harriet and Peter’s
love reverie suggests, that poem is another favorite for proponents of
Donne’s sexual modernity despite its vocabulary of blood and death.
“The Extasie” begins with a picture of the lovers on a riverbank of
violets lying “like sepulchrall statues” (E, 18). The poem imagines
perfect love as the image of death—the monument to dead bodies;
the lovers are still, as if they are no longer animate. In that same
poem, when the speaker tries to imagine what it might mean for the
perfect soul of lovers, made one in their love, to engage physically, he
reaches for humoral medicine—a theory of blood:
Soe soule into the soule may flow,
Though it to body first repaire.
As our blood labours to beget

Spirits, as like soules as it can,
Because such fingers need to knit
That subtile knot, which makes us man.
(E, 59–64)
In this medical simile, what links the soul to the body is a production
of the blood—“[s]pirits.” Donne understands the body and its
relationship to sex not as the nineteenth century would—as a
container of the personality formed in sexuality, a container that
might inadvertently manifest the pressures of that sexual nature—but
rather as a material thing linked to the immaterial soul by the blood’s
vapors. That body matters in a way quite different from the way that
it would come to matter in a world of psychology and biology. It
matters as the case of the soul, “the booke” by means of which the
soul might be read (E, 72).
“The Flea,” “The Good-morrow,” “The Extasie,” and Donne’s
other love poems use a religious vocabulary to speak of sex. In “The
Flea,” along with the references to “sinne” and “shame,” the lovers’
bloods are “cloysterd” in the flea’s body, and the beloved’s killing of
the flea resembles the martyrdom of the innocent (E, 5, 20). The
speaker of “The Good-morrow” imagines that until the lovers “lov’d”

they “snorted . . . in the “seaven sleepers den” (E, 2, 4); thus they
awoke to the shock of their exalted love just as the persecuted
Ephesians who slept for two centuries awoke to the shock of a fully
Christian world. The good morning of “The Good-morrow” is ad-
dressed by the speaker to “our waking soules” (E, 8). “A Valediction:
Forbidding Mourning” speaks of “Our two soules therefore, which
are one” (E, 21). In “The Extasie” the speaker depicts two lovers
whose souls speak as one. In much of Donne’s poetry, sex is
unimaginable in other than religious terms. As Claire McEachern
suggests, religion “was culture in early modern England.”51 Michael
Schoenfeldt argues that Donne “finds male erotic desire and devo-
tional longing to exist in perpetual and excruciating tension.”52 What
I am suggesting, in contrast, is that in Donne’s world there were no
separate realms of desire and devotion that could exist in tension with
one another. Rather, as Saunders says, desire was “ultimately deriva-
tive of and secondary to spiritual experiences and vocabulary.”53
Donne is not jettisoning religion to form a new realm of sexuality;
rather he is imagining his speakers’ sexual experiences in his culture’s
religious terms.
Rather than seeing Donne’s poetry as beginning to divorce itself
from what Saunders sees as “an earlier discursive moment” in the
history of sexuality, if we take into account the vocabulary Donne
uses to write about sex in even the poems that seem most congenial
to a modern understanding of sex, we can see how deeply embedded
Donne’s poetry is in what Foucault identifies as the “society of
blood.”54 That vocabulary appears in the conditional last lines of “The
Good-morrow.” The speaker says “If our two loves be one, or, thou
and I / Love so alike, that none doe slacken, none can die” (E, 20–21,
my emphasis). The conditional conjunctions in these lines mark this
vision of equal love as fantasy. That fantasy governs the poem, but
even though it is beautiful (perhaps especially to modern critics), for
Donne’s speaker it is always a fantasy. The pun on “die” undercuts
that vision of equal love, and the “If ” and “or [if]” expose it as fantasy
even while they sustain the fantasy. Neither lover will die, and their
love for one another will not “slacken,” grow weaker, only “if ” their
loves are one—together and equal—“or [if]” they love each other
“alike”—with like measure, in compatible ways. Of course, as the
poem suggests, any of these conditions is impossible.

V. SEX AND MISOGYNY
That fantasy of equal love between a man and woman is intensely

congenial to modern critics. That fantasy permits Sayers to believe
that Donne’s poetry actually describes what her Peter Wimsey feels
for her Harriet Vane, even though that relationship partakes of a
modern universe of love and heterosexuality that Donne could never
have imagined.55 That fantasy of equal love undergirds the modern
fantasy of the heterosexual Donne, perhaps because critics intuit,
even if they do not think about the issue consciously, that if Donne
did not believe in equal love, then the picture that his poems create
of sexual relations between men and women could not be modern—
could not be the love between men and women that critics them-
selves fantasize about. But although Donne entertains male-female
equality explicitly as a fantasy in some instances, his oeuvre as a whole
points in quite another direction, toward the world conceived against
the sinful body, the world conceived only as a pale reflection of God,
the world conceived in hierarchy and inequality; even poems such as
“the Good-morrow” entertain the fantasy of equal love between men
and women conditionally, as if Donne is determined that it not be
taken seriously. Women, Donne’s speakers insist, cannot love equally
with men. Women are categorically inconstant. They are the picture
of inconstancy, the earthly manifestation of the sin of venereal lust, a
sin, by definition, prodigious and restless.56
Unlike Donnean pronouncements on the perfection and equality
of women, which seldom occur (and are frequently qualified),
pronouncements about women’s treasonous nature and their inabili-
ties pervade the poetry.57 In the poem “Womans Constancy,” Donne’s
speaker wonders how the woman who has loved him “one whole day”
will justify her inevitable inconstancy, since inconstancy is natural to
all women (E, 1). Men’s desires, the speaker of “Loves Alchymie”
claims, often deceive them into thinking that women have intelli-
gence:
That loving wretch that sweares,
’Tis not the bodies marry, but the mindes,
Which he in her Angelique findes,
Would sweare as justly, that he heares,
In that dayes rude hoarse minstralsey, the spheares.
Hope not for minde in women; at their best
Sweetnesse and wit, they’are but Mummy, possest.
(E, 18–24)

Women, this speaker insists, are all bodies and, therefore, all death,
despite the desires of men who would see angels when they see
women. Preserved dead bodies, perhaps animated by “Sweetnesse
and wit,” women lack the “mindes” that might make them immortal.
Love for women, this poem claims, is a “vaine Bubles shadow,” hardly
worth paying for with men’s “ease,” “thrift,” “honor,” and “day[s]” (E,
13–14). This is a poem from Foucault’s premodern world with its
obsession with death, its concern with honor as the essence of male
identity, and its status hierarchies.58 The speaker of “Loves Alchymie”
scorns male love for women because that sort of love is made
ridiculous when his “man / Can be as happy’as [he] can” (E, 15–16).
The modern world tells men that (hetero)sexual satisfaction will
prove their manhood. In addition to disdaining women because they
lack minds, Donne’s speaker disdains men’s desire for women pre-
cisely because such desire lowers the speaker to a state of equality
with his “man,” his servant, who should be, by definition, his inferior.
In “The Blossome,” Donne creates a Petrarchan speaker with a
heart reluctant to leave his disdainful beloved; the speaker permits
his heart to stay only if it understands the condition of women:
A naked thinking heart, that makes no show,
Is to a woman, but a kinde of Ghost;
.................................
Practice may make her know some other part,
But take my word, shee doth not know a Heart.
(E, 27–32)
Women can learn to know and love the penis, but they will never
know men’s hearts. In this poem, the man’s heart is unprotected,
naked, and exposed. At the same time, it “makes no show” in the
world; it offers nothing worldly, no gain that might attract the
presumably grasping woman. Thus the woman, if she sees the man’s
heart, sees it only as a dead thing, with no effectiveness and no effect
on her.
Another of the songs states the case against women bluntly: the
speaker of “The Primrose” concedes women’s character: “Since there
must reside / Falshood in woman, I could more abide, / She were by
art, then Nature falsify’d” (E, 18–20). Women are naturally false—a
woman created true in nature would be monstrous, although one
could countenance a woman made perfect by art (makeup). Women’s
falsehood and inferiority are thematically central throughout the
poetry, in poems which have discernable characters as speakers—

such as the Petrarchan lover of “The Blossome”—and in poems
where we can only with difficulty separate the speaker’s voice from
Donne’s own voice.
“A Valediction: of my Name in the Window” conceivably addresses
the woman who would become Ann Donne: Ann More; and it, like
these other poems, manifests a deep distrust of women’s constancy.
The poem seems to play on the coincidence of John Donne’s and Ann
More’s family names.59 John, like Ann, was a More—his mother was
the grandaughter of Sir Thomas More’s sister, Elizabeth Rastell. In
the second stanza of “A Valediction: of my Name in the Window,” the
speaker reflects on the properties of a window upon which he has
carved his name:
’Tis much that Glasse should bee
As all confessing, and through-shine as I,
’Tis more, that it shewes thee to thee,
And cleare reflects thee to thine eye.
But all such rules, loves magique can undoe,
Here you see mee, and I am you.
(E, 7–12)
The window, like love, has magical properties. Like the lover, it
confesses “all,” and it is “through-shine”: one can see through it. The
poem implies that lovers are transparent by “rule”—their love
obvious to all. The glass, however, is “more” than “all confessing” and
“through-shine.” The name that the speaker has engraved upon it
“shewes thee to thee.” If that name is “More” and if Ann More looks
at the window, then the window acts doubly like a mirror, reflecting
Ann’s face and showing her name (and Donne’s name) to her. Their
love is magical because it transcends glass’s everyday reflective
quality, glass’s ability to reflect a person’s face back to herself. This
glass, engraved with the evidence of Donne/More’s love, lets Ann see
Donne when she sees herself. “Loves magique” will also transform
Ann More into Ann Donne, once again making their names identical.
But if “A Valediction: of my Name in the Window” is a love poem to
Donne’s future spouse, it is also yet another meditation on women’s
sexual dishonesty. Donne/More has carved his/her name upon the
glass in an impossible effort to ensure his beloved’s “firmnesse” (E,
2). But she, a woman, cannot be firm. In the poem’s tenth stanza, the
speaker postulates “an overt act” of “treason” by his beloved (E, 55–
56); she will, inevitably, write to another lover. The speaker begs that
in the act of “superscribing” her name on the letter she writes to her

lover, she would see Donne’s name, and though she intends to write
to his rival, she will unconsciously write to Donne (E, 57–60). Even in
this poem, which seems so intimately about Donne and his chosen
wife, the speaker assumes that his beloved will stray; such is the
condition of women.
Donne uses the adjective “through-shine” again in a verse epistle
addressed explicitly to his important patron Lucy, Countess of
Bedford. Donne depended on the Countess for his court fortunes;
and his poetic praise of her, as well as his praise of Elizabeth Stanley,
Countess of Huntingdon, demonstrates that Donne’s (commonplace)
low opinion of women’s sexual virtue extends well beyond that
opinion’s inscription in love poetry that assumes women’s sexual
escapades. In the verse epistle, “Madam, Reason is our Soules left
hand,” Donne calls Lucy “The first good Angell, since the worlds
frame stood, / That ever did in womans shape appeare” (S, 31–32).
The Countess’s perfection stands out since Angelic nature never
appeared before in a woman’s body. Another epistle addressed to the
Countess (“T’Have written then”) claims that her virtue redeems her
sex from its hell as it redeems the court that she frequents: “Your (or
you) vertue two vast uses serves, / It ransomes one sex, and one Court
preserves” (S, 25–26). Women, then, should thank the Countess for
redeeming their entire sex, otherwise condemned because of its
essential depravity. Another poem, written for the Countess of
Huntingdon (“Man to Gods image”), praises her to the sky, despite
her condition as a woman. Donne pretends in the poem to worry
about the fate of virtue because it has sunk so low as to show itself in
a woman:
If the worlds age, and death be argu’d well
By the Sunnes fall, which now towards earth doth bend,
Then we might feare that vertue, since she fell
So low as woman, should be neare her end.
(S, 17–20)
The sun setting might presage the world’s end; so virtue, found on
earth in the Countess, and therefore sunk to the level of woman, may
be near its death. Of course these abuses of women as a group are
conventional in the English Renaissance; what is so interesting is that
Donne chooses to put these conventional slurs on women’s virtue
into his praise poetry directed toward women. We can glean from his
choice that Donne and his contemporaries took women’s lack of
virtue for granted.

Critics may know this fact about sexual misogyny in Donne’s
England, but because of Donne’s twentieth-century reputation as a
love poet and, therefore, a heterosexual man, critics feel that they
must deny it as Donne’s truth, the truth of Donne’s “self.” Although I
could adduce many, many more examples of Donne’s (speakers’)
sexual misogyny from the poetry, an example of how that poetry has
been dealt with by one of Donne’s more famous readers will serve to
illustrate this dynamic in Donne criticism. The New Critics and the
English critics associated with them adored Donne’s poetry for its
ambiguity and its paradoxes, two staples of New Critical analyses.60
In his monumental Seven Types of Ambiguity (originally published in
1930), William Empson writes at length about the Donne poem “A
Valediction: of weeping,” which, as Empson suggests, “is shot through
with a suspicion” that the woman to whom he writes “will be
unfaithful to him” when he leaves her. Following this comment on
the poem, Empson argues that “[t]hose critics who say the poem is
sincere, by the way, and therefore must have been written to poor
Anne, know not what they do.”61 Empson is distressed that critics
could believe that Donne addresses the poem to Ann and simulta-
neously take the sexual suspicion in the poem seriously. To Empson,
such critics sully Donne’s love for his wife. Years after Empson
published his comment, Helen Gardner reprinted the essay with a
note to Empson’s comment: “Professor Empson asks me to add here
that he now thinks that ‘the poem may have been written to Donne’s
wife, because the ironies are not against the woman addressed but
against his own previous uses of the fantastic argument.’”62 In 1947,
Empson added a note to a further interpretation of the poem that
reads, “I doubt now whether Donne would have minded leaving
these conceivable implications lying about, even if the poem were in
fact written for his wife. He might well have feared that she would
throw up her reckless marriage.”63 Clearly seeing that “A Valediction:
of weeping” entertains the possibility of the beloved’s unfaithfulness,
Empson at first dismisses the possibility that it might be addressed to
Ann More—this despite the poem’s insistent wordplay on the word
“more.” Later, Empson turns Donne’s distrust of women around,
reading it as Donne’s reflection on his own poetic conceits rather
than on women’s wavering nature. Finally, Empson deflects the
possibility that Donne might seriously distrust all women, by specu-
lating that Donne had a particular reason to fear that Ann might
regret leaving her family comforts for Donne. Empson and most of
the critics who follow him refuse to admit that Donne is absolutely

uncritical of a social system that rests on women’s fundamental
inequality. As Donne asserts in a 1617 sermon at Paul’s Cross, “The
sphere of [men’s] loves is sublunary, upon things [women] naturally
inferior to ourselves.”64
VI. MEN’S WORLDS: “PLEASURE AND BUSINESS”
In the poem “Good Friday, 1613. Riding Westward,” Donne’s

speaker regrets that his soul tends to move away from its “Saviour”
and towards “Pleasure or businesse.”65 Likewise, in a 1608 letter to
Sir Henry Goodyer, Donne contends that he would be a sinner even
were he “able to husband all [his] time so thriftily, as not only not to
wound [his] soul in any minute by actual sin, but not to rob and cozen
her by giving any part to pleasure or business.”66 Unlike the (now
separate) realms of religion and sex which were not separate for
Donne, the realms of business and pleasure were separable—indeed
they were antithetical, as the “or”s in Donne’s phrase in both the
poem and the letter indicate.67 Halpern wants to claim that Donne
helps to create modern heterosexuality because the erotic space he
creates in his love poetry is “a social sphere or domain to which the
subject tries to repair in a paradoxical and ultimately self-frustrating
attempt to escape the effects of social differentiation.”68 In other
words, Halpern claims that Donne’s love poems laud and so help to
validate the “private” love between a man and a woman over against
the public world from which Donne, by marrying Ann More, forcibly
exiled himself. However, the separation of “business” (the public
world of men) and “pleasure” (the private world of male-female sex)
is not original to Donne, nor is it a feature of some transcendental,
transhistorical heterosexuality, unless we ignore the history of sexual-
ity so much as to make the ancients share our sexual system. Aeneas
must leave his idyll with Dido to pursue his political destiny. In the
classical world, and throughout Renaissance representation, men are
distracted from the business of the world by their sexual trysts and
must reject sex and women in order to attend to what really
matters—the world of men and men’s affairs.69
Donne’s speaker in “The Sunne Rising” dismisses the business half
of the couple “business or pleasure,” relegating business to the world
apart from the world of sexual pleasure created in his bed. Critics
invested in Donne as a modern lover of women point fondly to “The
Sunne Rising” because it appears to value sexual pleasure above all.70
The speaker asks the sun to leave the lovers alone since nothing in

the world, including its “honor,” “wealth,” and king’s affairs, matters
more than their time in bed with one another (E, 24). If “The Sunne
Rising” seems unusual in that it presents the choice of pleasure over
business in positive terms, it is only unusual if we read the poem as
expressing not the views of a possibly deeply mistaken speaker but
the views of Donne himself. We may either believe, with the
American New Critics and their English cohorts, that these poems
are fictions spoken by fictional speakers—in C. S. Lewis’s words that
“[i]t is, in fact, quite impossible that the character represented in the
poem should be identically the same with that of the poet”—or we
may believe that the poems express Donne’s “real” views on sex.71 We
cannot, however, have it both ways. If “The Sunne Rising” expresses
the views of a character who rejects the world for sex, that character
was created by many other Renaissance poets—albeit frequently as a
fool or a clown.72 If we want to believe that this is an expression of
Donne’s heart in the matter of sex, then we also must, if we are to be
even marginally intellectually honest, take equally seriously the other
things that Donne’s poetic speakers and Donne in his letters and
sermons say about sex. Besides the sentiment’s congeniality to
modernity’s investment in sex as the center of the self, what exactly
makes the claims of the speaker of “The Sunne Rising” more true to
Donne’s self than the words of the speaker in “Good Friday, 1613.
Riding Westward” or Donne’s words in his letter to Goodyer?
In a 1608 letter to Goodyer, Donne says, “To be no part of anybody
is to be nothing,” and in another letter to Goodyer that same year,
Donne writes that his fortune has made him “rather a sickness and
disease of the world than any part of it.”73 Far from touting his exile
with Ann as a haven from the world, Donne laments his life apart
from the homosocial world to which he as a Renaissance man
belonged. Away from the world of men, Donne is “no part of
anybody.” The sentiments of these letters are consistent with so much
of Donne’s writing that to dismiss them in favor of our own vision of
the heterosexual Donne is as deadly a result of the “virus of the
precursor” as is Sayers’s use of Donne’s virulent misogyny to cel-
ebrate Lord Peter Wimsey and Harriet Wimsey’s married love. The
world of men, of patronage and male friendship, was central to
Donne throughout his life.
Donne customarily signs his letters to Goodyer with phrases such
as “Your very affectionate lover and servant.”74 Donne’s amorous
discourse of male friendship is not in the least remarkable in his
period, but it is, I think, the final stumbling block for the anachronis-

tic picture of Donne the heterosexual. For, pace so many Donne
critics’ fantasies of a heterosexual Donne, it is men with whom
Donne can most easily image equality and love. His poem, “The
Storme,” addressed to his friend and roommate at the Inns of Court,
Christopher Brooke, opens, “Thou which art I” (S, 1).75 He writes to
his patron Sir Henry Wotton, “Sir, more than kisses, letters mingle
Soules; / For, thus friends absent speake” (S, 1–2).76 Throughout the
letters, poems to men, and poems about love affairs with women,
Donne writes friendship as the primary relation. In “The Blossome,”
Donne’s speaker addresses his own rejected heart. Since his heart
refuses to leave its fruitless pursuit of a cold woman, he will leave it
behind as he travels to the city. He says to his heart,
Meet mee at London, then,
Twenty dayes hence, and thou shalt see
Mee fresher, and more fat, by being with men,
Than if I had staid still with her and thee.
For Gods sake, if you can, be you so too:
I would give you
There, to another friend, whom wee shall find
As glad to have my body, as my minde.
(E, 33–40)
“[B]eing with men” will feed Donne’s speaker’s body and mind. The
pursuit of women, in contrast, wastes the body—this is one of the
premises of Petrarchan poetry. As significantly, the next woman this
Petrarchan lover will pursue will love his body and his mind. She,
unlike the cold woman, is a “friend.”
We easily overlook, I think, how poets and writers in the English
Renaissance trope what we, under the auspices of modern hetero-
sexuality, would call romantic love as friendship. This trope is so
active because of the two relations—male-female sexual engagement
and male-male friendship—male-male friendship is more significant.
Renaissance poets trope “romantic love” as friendship to give “ro-
mantic love” more value, value it did not intrinsically have in their
world. Their tropes, let me hasten to add, are not meant to change
that hierarchy of relation; they speak to and within it. As Laurie
Shannon argues, “[I]t is heterosexual association that period dis-
courses treat as a deviation of sorts in its variance from kind. What
the lines [from Shakespeare’s Twelfth Night] presuppose is a law of
nature operating according to either a like-seeking-like or a like-
seeking-to-remain-itelf principle.”77 In “The Relique,” Donne’s speaker

writes about a male-female couple whose love transcends the ordi-
nary. Their love is a miracle because they are a “like-seeking-like”
couple: “Difference of sex no more wee knew, / Then our Guardian
Angells doe” (E, 25–26). Although this poem celebrates a man and
woman’s love for one another, it celebrates that love because it
conforms to the principle of male friendship—the lack of difference
of sex. The woman is a miracle of faithfulness, since, as “The Relique”
attests, were she a usual woman, she could not be faithful: “For
graves have learn’d that woman-head / To be to more than one a Bed”
(E, 3–4). The essence of women is to bed-hop. Donne, at times, loved
women and sex with women, but resemblance to male friendship was
the pinnacle that the love relationship between a man and a woman
could barely hope to attain. A sermon Donne preached at the
wedding of Sir Francis Nethersole asks, “[H]ow much more conve-
niently might two friends live together, then a man and a woman?”78
Perhaps Donne is paraphrasing here from his reading of Augustine,
who argued, “How much more agreeably could two male friends,
rather than a man and a woman, enjoy companionship and conversa-
tion in a life shared together.”79
Donne conceives of sex in Augustinian terms. The long, uneven
emergence of heterosexuality would require the rejection of those
terms; it would require a validation of the world and worldly things; it
would require reconceptualizations of femininity and masculinity; it
would require a belief in the relative equality of (white) men; it would
require a belief that identity was founded in the direction of one’s
sexual desire.80 Heterosexuality as we know it, an ideological struc-
ture that is opposed to homosexuality as we know it, emerged over
the course of the long eighteenth century.81 During the years of its
emergence, Donne was out of favor.82 John Dryden argues, in 1693,
that Donne is a failed lover of women: “[I]n his Amorous Verses,
where Nature only shou’d reign [he] perplexes the Minds of the Fair
Sex with nice Speculations of Philosophy, when he shou’d ingage
their hearts, and entertain them with the softnesses of Love.”83 In
1728, John Oldmixon anticipated Samuel Johnson’s critique of Donne,
when he suggested that “Dr. Donne . . . confounded Metaphysicks
and Love.”84 The Barbados Gazette in 1733 published a poem
“composed by a young lady” called “On Reading Dr. Donne’s
Poems.” The speaker despairs of finding love truly expressed in the
poetry of Donne and his contemporaries: “Were my Passion to
appear, / What Description would it bear? / All Conceits my Flame
would wrong, / If it wou’d adorn my Song.”85 This kind of commen-

tary on Donne’s love poetry had a long life. In 1800, the bitterly
critical Nathan Drake comments that “even” Donne’s “amatory
pieces exhibit little else than cold conceits and metaphysical subtle-
ties.”86 The poet and essayist Walter Savage Landor published in
1826 a conversation he invented between Donne’s biographer, Walton,
and two other mid-seventeenth-century men. In that unlikely conver-
sation, Walton comments on Donne’s rejection of his “amatory”
verse, “[I]f the kindest and most generous affection comes across us,
we supress every sign of it, and hide ourselves in nooks and
coverts.”87 During the earlier formative years of heterosexuality,
when male selfhood was becoming identified with male love of
women, Donne was not read as a proponent of that love. By the early
nineteenth century, Landor imagines that Walton, who read Donne
in Donne’s own Augustinian terms, sees Donne instead reading sin as
the “kindest and most generous affection.” Donne’s sexual escapades
become the self—“ourselves”—that “we . . . hide . . . in nooks and
coverts.” Landor’s “we” is the “we” of a male identity defined, not in
terms of rank (blood and birth), nor in relationships between men,
but in terms of collective sexual desire for women.
Donne’s commentary on the love of boys, another sexual desire
available to men in his period, shows that he would not have
recognized this “we.” In “Satyre IV,” Donne writes of a hanger-about-
court who tells tales about other men: this sycophant reveals “who
loves Whores, who boyes, and who goats” (S, 128). The pursuit of
faithless women (“Whores”) was only one option for “youths fires” at
court or in the city.88 If we are to take the speaker of the epigram
“The Jughler” as a mouthpiece for Donne, boys were not to his taste
at the time when he enjoyed sex with women. That epigram reads,
“Thou call’st me effeminat, for I love womens joyes; / I call not thee
manly, though thou follow boyes.”89 This epigram could be para-
phrased, “If I am to be called effeminate because I am sexually
interested in women, does that imply that you should be called manly
because you, instead, are sexually interested in boys?” The epigram
inserts us into the sexual world to which Donne belonged. This was
not a world in which sexual object choice constituted either a
homosexual or heterosexual identity. Instead it was a world in which
a man’s sexual pursuit of women left him open to the charge of
effeminacy—a world in which having inordinate sexual desire made
one like a woman, since women were assumed to have inordinate
sexual desire.90 The speaker of “the Jughler” countercharges that
following boys is not a manly pursuit. Many of Donne’s contemporar-

ies appear to have disagreed.91 But neither followers of boys nor
followers of women were men who could be defined by the modern
sexual categories of homosexuality and heterosexuality. Instead, in
Donne’s world, they were all sinners.
University of Alabama at Birmingham
NOTES
1
Dorothy L. Sayers, Busman’s Honeymoon (New York Harper and Row, 1986),
244.
2
Sayers, 22.
3
Sayers, 243, 22.
4
Sayers, 22.
5
Sayers, 244.
6
Sayers, 57.
7
John Donne, “Loves Progress,” in The Elegies and The Songs and Sonnets, ed.
Helen Gardner (Oxford: Clarendon Press, 1965), line 36. All subsequent quotations
from the Elegies and the Songs and Sonnets will be quoted by line numbers from this
edition, hereafter denoted E.
8
OED, “remora,” definition 1.
9
Janel Mueller, “Women among the Metaphysicals: A Case, Mostly, of Being
Donne For,” Modern Philology 87 (1989): 155.
10
Mueller, 148. As I will throughout this essay, Mueller writes of Donne’s speakers
here. However, throughout her analysis, and really throughout Donne criticism as I
will show, the separation between Donne’s speakers and Donne’s self breaks down
continually. See Richard Strier, “John Donne Awry and Squint: The ‘Holy Sonnets,’
1608–1610,” Modern Philology 86 (1989): 357–84, on the question of Donne’s self
and his speakers.
11
Mueller, 147. We should note, however, that Mueller dismisses the poems that
celebrate male power as spoken by “cynical and libertine speakers” who often
“finally undercut themselves in what they say” (147).
12
See also Anthony Low, The Reinvention of Love: Poetry, Politics and Culture
from Sidney to Milton (Cambridge: Cambridge Univ. Press, 1993), who declares,
“Donne was a chief actor and influence in what may be called the ‘reinvention of
love,’ from something essentially social and feudal to something essentially private
and modern” (33).
13
Catherine Belsey, Desire: Love Stories in Western Culture (Oxford: Blackwell,
1994), 134.
14
Richard Halpern, “The Lyric in the Field of Information: Autopoiesis and
History in Donne’s Songs and Sonnets,” The Yale Journal of Criticism 6 (1993): 200.
15
Benjamin Saunders, “Circumcising Donne: The 1633 Poems and Readerly
Desire,” Journal of Medieval and Early Modern Studies 30 (2000): 388. Unfortu-
nately Saunders relies on scholars who too easily assume modern models of sexuality.
So for his reading of the circumcision metaphor in Thomas Browne’s elegy for
Donne, Saunders looks at James Shapiro’s comment on how diatribes against Jews
can simultaneously assert that Jews are womanly and overly sexual (382). While
Shapiro, and Saunders following him, see an unacknowledged contradiction here,
Renaissance discourses about sex conventionally associate sexual desire with women

and the ability to remain chaste with dominant masculinity. Browne’s metaphor may
be an attempt to assure readers of Donne’s chastity—what differentiates him from
the Jews—rather than his virility in a modern sense. The history of the word “virility”
as recorded in the Oxford English Dictionary is another window into the difference
between Donne’s sexual world and our own.
16
Annabel Patterson calls Donne “perhaps the author in whom the critical
enterprise was invested at the stage when its antihistorical procedures became both
a doctrine and a discipline” (“All Donne,” in Soliciting Interpretation: Literary
Theory and Seventeenth-Century English Poetrry, ed. Elizabeth D. Harvey and
Katherine Eisaman Maus [Chicago: Chicago Univ. Press, 1990], 39). The canoniza-
tion of Donne by the New Critics may well account for its residual effects on Donne
criticism.
17
In my attempt to do otherwise then, I join what could be called the revival of the
acknowledgment of religion in English Renaissance or Early Modern studies. On the
conservative tendencies and dangers of this revival, see Dympna Callaghan,
“Shakespeare and Religion,” Textual Practice 15 (2001): 1–3. Of course some critics
have never dismissed religion from their work on Donne. See Strier, for example.
18
Christopher Ricks, “Donne After Love,” in Literature and the Body: Essays on
Populations and Persons, ed. Elaine Scarry (Baltimore: The Johns Hopkins Univ.
Press, 1988), 33, 41 n. 18.
19
The examples of heterosexual men in this sentence point to the often unac-
knowledged complexity of the ideology of heterosexuality. My focus on Donne’s
misogyny in this essay is not meant to suggest that misogyny is not a feature of
modern heterosexuality. On the contrary, much heterosexual discourse rests on
misogyny. However, the modern misogyny that undergirds heterosexuality is quite
different from the Renaissance misogyny that undergirds a system that is not
founded in sex. For example, the Hustler mentality may objectify women as sexual
objects in much the same way as “Loves Progress” does, but the twentieth-century
objectification of women is based in an uncomplicated celebration of male sexual
pleasure, whereas Renaissance sexual misogyny is based in a vilification of sexual
pleasure. In addition, the misogyny that Donne subscribed to asserts strongly that
women are more sexually interested than men; this assertion is not a feature of most
modern misogynies.
20
David M. Halperin, One Hundred Years of Homosexuality (New York: Routledge,
1990), 46.
21
On the need to investigate heterosexuality along with homosexuality, see
Halperin, 44–45.
22
Arnold I. Davidson, “Sex and the Emergence of Sexuality,” Critical Inquiry 14
(1987): 37.
23
Halperin, 24.
24
See for example Ricks’s assessment of the poetry as described above. See also
Mueller’s characterization of Donne as pulled away from his true self by his culture’s
strictures (147–48).
25
Claire McEachern, intro. to Religion and Culture in Renaissance England, ed.
McEachern and Debora Shuger (Cambridge: Cambridge Univ. Press, 1997), 9;
William J. Bouwsma, “Hooker in the Context of European Cultural History,” in
Religion and Culture, 144. For a specific look at Donne’s position on the disputes in
English Christianity, see David Norbrook, “The Monarchy of Wit and the Republic
of Letters: Donne’s Politics,” in Soliciting Interpretation, 3–36. Joshua Scodel, in

Excess and the Mean in Early Modern Literature (Princeton: Princeton Univ. Press,
2002), explores the implications of Donne’s readings of the classical authors.
26
Shuger, “Excerpts from a Panel Discussion,” in Renaissance Discourses of
Desire, ed. Claude J. Summers and Ted-Larry Pebworth (Columbia: University of
Missouri Press, 1993), 272.
27
See, for example, Achsah Guibbory’s claim that “Donne’s distrust of sexuality
and male sexual desire conflicts with his sense of the goodness of the body, with his
sense that erotic love between two human beings is the fullest expression of a human
nature made in the image of God, the experience which enables us to be our best,
most authentic and integrated selves” (“‘The Relique,’ The Song of Songs, and
Donne’s Songs and Sonets,” John Donne Journal 15 [1996]: 38).
28
St. Thomas Aquinas, Summa Theologica, trans. Fathers of the English Domini-
can Province, 5 vols. (Benziger Brothers, 1948), 4:1804.
29
A significant exception here is Richard Rambuss, who, in his discussion of
Donne’s (and the other metaphysical poets’) religious poetry, is fully aware that “a
notion of sexuality as one’s essential identity was not operative when these poets
wrote” (Closet Devotions [Durham: Duke Univ. Press, 1998], 56).
30
Saunders, 387.
31
Saunders, 386.
32
Izaak Walton, The Lives of Dr. John Donne, Sir Henry Wotton, Mr. Richard
Hooker, Mr. George Herbert (1670) (Menston, England: Scolar Press, 1969), 37.
Walton is relatively consistently reviled in the criticism as a pious apologist, but it
seems ridiculous to dismiss everything Donne’s first biographer says, particularly
when Donne’s own work might confirm some of Walton’s assessments. See R. C.
Bald, John Donne: A Life (Oxford: Oxford Univ. Press, 1970), for a balanced
assessment of Walton’s work.
33
Augustine, Confessions: Books I–XIII, trans. F. J. Sheed (Indianapolis: Hackett
Publishing Company, 1993), 2:1.
34
Donne, Selected Prose, chosen by Evelyn Simpson, ed. Gardner and Timothy
Healy (Oxford: Clarendon Press, 1967), 79.
35
John Donne, “Obsequies to the Lord Harrington, brother to the Countesse of
Bedford,” in The Epithalamions, Anniversaries, and Epicedes, ed. W. Milgate
(Oxford: Clarendon Press, 1978), lines 194–95, 128.
36
See Patterson, 40, on this problem generally in Donne criticism.
37
The religious vocabulary that pervades the oeuvre should disallow categoriza-
tions of the poetry like this one from Guibbory: “Whether he is (as in the Satires and
Anniversaries) anatomizing the corruption in his world, or (in the Elegies and Songs
and Sonets) exploring the varieties and complexities of love, or (in the Divine Poems)
meditating on sin, grace, and the anxious question of salvation, Donne is searching
for a truth that will emerge from and fit his experience.” Yet this quotation is from
Guibbory’s contribution to the standard scholarly companion to the poetry: “John
Donne,” in The Cambridge Companion to English Poetry: Donne to Marvell, ed.
Thomas N. Corns (Cambridge: Cambridge Univ. Press, 1993), 129. And this sort of
characterization of the poetry is the rule rather than the exception.
38
Michael Warner, The Trouble with Normal: Sex, Politics, and the Ethics of Queer
Life (New York: Free Press, 1999), 74, 6.
39
Michael Goodich, “Sexuality, Family, and the Supernatural in the Fourteenth
Century,” Journal of the History of Sexuality 4 (1994): 495.

40
Donne, “Since she whome I lovd,” in The Divine Poems, ed. Gardner (Oxford:
Clarendon Press, 1978), line 14.
41
Donne, John Donne: A Critical Edition of The Major Works, ed. John Carey
(Oxford: Oxford Univ. Press, 1990), 273.
42
Even in “The Exstasie,” the poem in which Donne famously depicts the body as
the “booke” of the soul, he terms the soul “a great Prince” to which the body is
ultimately subject (Elegies, 73, 68).
43
See Gene Edward Veith, Jr.’s comment that “the born-again student in the back
row is probably closer to the worldview and experiences of John Donne than are
most secularist scholars.” “Teaching about the Religion of the Metaphysical Poets,”
in Approaches to Teaching the Metaphysical Poets, ed. Sidney Gottlieb (New York:
MLA, 1990), 60.
44
Michel Foucault, The History of Sexuality: Volume I: An Introduction, trans.
Robert Hurley (New York: Vintage, 1980), 147.
45
On the lack of the public/private distinction in Donne’s England, see Michael
Neill, Putting History to the Question: Power, Politics, and Society in English
Renaissance Drama (New York: Columbia Univ. Press, 2000), 28. On the lack of the
homo/hetero distinction in the Renaissance, see Jeffrey Masten, Textual Intercourse:
Collaboration, Authorship, and Sexualities in Renaissance Drama (Cambridge:
Cambridge Univ. Press, 1997); Mario DiGangi, The Homoerotics of Early Modern
Drama (Cambridge: Cambridge Univ. Press, 1997); and Jonathan Goldberg,
Sodometries: Renaissance Texts, Modern Sexualities (Stanford: Stanford Univ. Press,
1992).
46
Elaine Scarry notes, “Physical disease, plague, fever, accident, the risk of
childbearing—these loom large in the background of all [of Donne’s] poetry and
prose” (“Donne: ‘But yet the body is his booke,’” in Literature and the Body: Essays
on Populations and Persons, ed. Scarry [Baltimore: The Johns Hopkins Univ. Press,
1988], 72). The AIDS epidemic has led to another, distinctly different, vocabulary of
blood and death as related to sex.
47
Donne, “The Progresse of the Soule,” in The Satires, Epigrams and Verse
Letters, ed. Milgate (Oxford: Clarendon Press, 1967), lines 91–93. Hereafter
abbreviated S and cited by line number.
48
Donne, Epithalamions, lines 106–10.
49
Donne also, famously, uses the pun on “to die” in “The Canonization”: “Wee can
dye by it, if not live by love” (E, 28). That same pun appears in two less well-known
poems: “The Prohibition,” in which the speaker says to his love object, “Love mee,
that I may die the gentler way,” (E, 19) and “The Dampe,” in which he says, “Kill
mee as Woman, let mee die” (E, 21).
50
See Donne’s own use of “alchimie” in “The Sunne Rising” (E, 24) and in
“Problem VIII: ‘Why are the fayrest falsest?’” in Paradoxes and Problems, ed. Helen
Peters (Oxford: Clarendon Press, 1980). See also Donne’s friend Ben Jonson’s
satirical play The Alchemist.
51
McEachern, intro. to Religion and Culture, 11.
52
Michael Schoenfeldt, “The Gender of Religious Devotion: Amelia Lanyer and
John Donne,” in Religion and Culture, 228.
53
Saunders, 386.
54
Saunders, 388.
55
Gardner calls Donne “the poet of equity and reciprocity” (quoted in Scarry, 94).
Writing about the elegy “To his Mistress Going to Bed,” Low claims that “it is

possible, by leaving out one part of the elegy or another, to argue either that Donne
is a sexist or a pioneer of mutual loving. He is both” (39). It is a testament to the
power of this fantasy about Donne that it can extend itself to the elegies.
56
Phyllis Rackin rightly warns against generalizations about misogyny and women’s
place in Renaissance England in “Misogyny is Everywhere,” in A Feminist Compan-
ion to Shakespeare, ed. Dympna Callaghan (Oxford: Blackwell, 2000). However,
comments about women’s essentially sexual nature are ubiquitous in the period.
Donne’s persistent mouthing of such commentary should not be taken as standard,
but neither is it terrifically exceptional.
57
My analysis of Donne’s misogyny below has a lot in common with C. S. Lewis’s
dismissive analysis of the love poetry in “Donne and Love Poetry in the Seventeenth
Century,” in John Donne: A Collection of Critical Essays, ed. Gardner (Englewood
Cliffs, NJ: Prentice Hall, 1962), 109–22. Lewis attributes the misogyny to Donne’s
Roman Catholicism. The distinction Lewis makes between Roman Catholic and
Protestant attitudes toward sex seems too simplistic to me. It is important to
remember how significant a Protestant preacher John Donne was. His sermons are
even more critical of male-female sex than is the poetry. Modern heterosexuality was
not born in the Reformation, although some Reformation thinking contributed to its
birth. For more on the origins of modern heterosexuality, see my forthcoming Early
Modern England without Heterosexuality.
58
In his introduction to Donne: Poetical Works (Oxford: Oxford Univ. Press, 1933;
reprint, 1977), Sir Herbert Grierson comments on the poetry Donne wrote for
patrons: “To some of us the early excesses in wit and indecency of his poems are
more easily condoned than some of the compliances of his later life—his fulsome
flattery of noble ladies, his protestations of devotion to the service of James’s
abominable favorites, Somerset and Buckingham, his pluralities and eager touting
for preferment” (xxxix). Grierson can countenance the sexual misogyny in the early
poems, since he interprets it as natural heterosexual excess and men will be
(heterosexual) men, but Donne’s patronage poetry disgusts him, since men after all
are just men, not inherently superior to one another because of their blood and
therefore not to be obsequiously flattered. He is also disgusted by Donne’s holding
more than one church living at a time (“his pluralities”) and by his hunts for worldly
and church advancement. And is there perhaps some homophobia in Grierson’s
comments about James’s favorites? It is unlikely that Donne or any of his contempo-
raries shared Grierson’s tastes—Donne’s status culture took everything that disgusts
Grierson for granted.
59
Rayna Kalas drew my attention to the insistent wordplay in the poem. A
conversation with Pat Parker helped me to think through its meaning in relation to
the poem’s misogyny.
60
Cleanth Brooks uses “The Canonization” as the “concrete case” that will
illustrate the preminence of paradox in poetry (The Well Wrought Urn [New York:
Harcourt, Brace and Company, 1947], 10). He takes the title of this New Critical
manifesto from the poem.
61
William Empson, “A Valediction: Of Weeping,” in John Donne: A Collection of
Critical Essays, 52. The British Empson himself was not a New Critic, but he was “a
part of their common orthodoxy” (Christopher Norris, Willliam Empson and the
Philosophy of Literary Criticism [London: The Athlone Press, 1978], 3). For the
relationships between Empson’s criticism and the New Criticism see Norris.

62
Gardner, 52 n*, in Empson. See Empson’s comment in “Donne the Space Man,”
The Kenyon Review 19 (1957): 337–99, 373.
63
Empson, “A Valediction,” 53 n. 2.
64
Donne, John Donne: A Critical Edition, 268.
65
Donne, “Good Friday, 1613. Riding Westward,” in Divine Poems, lines 36, 7.
66
Donne, The Life and Letters of John Donne, ed. Edmund Gosse, 2 vols.
(Gloucester, Mass.: Peter Smith, 1959), 1:190.
67
See also the discussion of the relative claims of love and business in “Breake of
Day.” If the speaker of this poem is a woman, as critics generally believe, than her
dismissal of “businesse” fits the stereotype of women’s devotion to sexual pleasure.
68
Halpern, 204.
69
Men might also be distracted from the world of business by sexual trysts with
men. See, for example, Christopher Marlowe’s play Edward II. One of the many
aspects of the Renaissance social world that differentiates it from our own, however,
is how often Renaissance texts posit that male-male love relations can easily coexist
with business relations, while male-female love relations are intensely destructive.
70
See for example Belsey, who sees this poem and “The Good-morrow” as
constituting “the privileged, intimate world” that is “in the process of becoming the
foundation of conjugal partnership” (147). See also Andrew Mousley, who takes this
poem to mean that “[l]ove is what makes the world go round, and the bed is at its
fixed centre” (John Donne, ed. Mousley [New York: St. Martin’s, 1999], 2). John
Cary, in John Donne: Life, Mind and Art (New York: Oxford Univ. Press, 1980), is
rightly suspicious of the poem’s claim that the speaker is happy to banish the world
(108–10).
71
Lewis and E. M. W. Tillyard, The Personal Heresy: A Controversy (London:
Oxford University Press, 1939; reprint 1965), 9.
72
See, for two examples, Shakespeare’s Touchstone (As You Like It) and the young
man lolling in Edmund Spenser’s Bower of Bliss in book 2 of The Faerie Queene.
73
Donne, Life and Letters, 1:191, 194.
74
See, for one example, Donne, Life and Letters, 1:217.
75
On male identity and male friendship in the English Renaissance, see Alan Bray,
The Friend (Chicago: Chicago Univ. Press, 2003); Laurens Mills, One Soul in Bodies
Twain: Friendship in Tudor and Stuart Literature (Bloomington: The Principia
Press, 1937); Masten; Laurie Shannon, Sovereign Amity: Figures of Friendship in
Shakespearean Contexts (Chicago: Chicago Univ. Press, 2002).
76
See Shannon for a brilliant commentary on this letter (Sovereign Amity, 44–45).
Donne uses the same metaphor in a 1607 letter to Sir T. Lucy: “Sir,—I make account
that the writing of letters, when it is with any seriousness, is a kind of ecstacy, and a
departure and secession and suspension of the soul, which doth then communicate
itself to two bodies” (Life and Letters, 1:173).
77
Shannon, “Nature’s Bias: Renaissance Homonormativity and Elizabethan Comic
Likeness,” Modern Philology 98 (2000): 210.
78
Donne, quoted in Mary Beth Rose, The Expense of Spirit: Love and Sexuality in
English Renaissance Drama (Ithaca: Cornell Univ. Press, 1988), 102. Rose discusses
Donne’s negative sermons on marriage as the exception to the Protestant celebration
of marriage. I do not read Renaissance Protestant discourse as celebrating marriage
in any way that resembles the celebration of marriage once heterosexuality is
established. Renaissance Protestant discourse always sees marriage as the secondary
relation for men, well subordinate to a man’s relation to God.

79
Augustine, quoted in Erin Sawyer, “Celibate Pleasures: Masculinity, Desire, and
Asceticism in Augustine,” Journal of the History of Sexuality 6 (1995): 3 n. 6.
80
For the place of masculinity in Donne’s world, see my “Manliness before
Individualism: Masculinity, Effeminacy, and Homoeroticism in Shakespeare’s His-
tory Plays,” in The Blackwell Companion to Shakespeare’s History Plays, ed. Richard
Dutton and Jean Howard (Oxford: Oxford Univ. Press, 2003), 220–45.
81
See Eve Kosofosky Sedgwick, Epistemology of the Closet (Berkeley: Univ. of
California Press, 1990), for all of the possible sexual orientations this dominant but
seriously impoverished classificatory system ignores (22–27).
82
The critical reception of Donne over these centuries (collected in A. J. Smith,
John Donne: The Critical Heritage [London: Routledge & Kegan Paul, 1975]) makes
nonsense of Low’s claim that “Donne discovered a new kind of love poetry, which
generations of readers have found fresh, startling, and—even when they have been
at odds with it, as John Dryden, Johnson, and Lewis have been—still have found it
too significant to ignore” (Low, 48). In fact, Donne was largely ignored for the bulk
of the eighteenth and much of the nineteenth centuries.
83
Dryden, quoted in Smith, 151.
84
John Oldmixon, quoted in Smith, 190.
85
Quoted in Smith, 197–98.
86
Nathan Drake, quoted in Smith, 258.
87
Walter Savage Landor, quoted in Smith, 335–36.
88
“[Y]ouths fires” is a phrase from Donne’s poem “A Litanie,” in which the speaker
claims that he is the “temple” of the Holy Ghost, a temple which he has “sacrile-
giously / Halfe wasted with youths fires, of pride and lust” (Divine Poems, 19–22).
89
Milgate uses the title “Manliness” for this epigram. That title comes from a 1942
edition of the poems. Milgate’s choice of R. E. Bennett’s 1942 title shows that he,
with Bennett, reads this epigram as embedded in heterosexuality.
90
See Rackin, “Foreign Country: The Place of Sexuality in Shakespeare’s Histori-
cal World,” in Enclosure Acts, ed. Richard Burt and John Michael Archer (Ithaca:
Cornell Univ. Press, 1994), 69–70.
91
See Mary Bly, Queer Virgins and Virgin Queans on the Early Modern Stage
(Oxford: Oxford Univ. Press, 2000).

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ELH, Volume 72, Number 1, Spring 2005, pp. 259-289 (Article)

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BY REBECCA ANN BACH

In 1937, after three novels recounting episodes from “[n]early six

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II. “SEXUALITY” HAS A HISTORY

In his seminal book on the history of sexuality, David Halperin

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[c]hastity and virginity are moral categories denoting a relation

According to Davidson, the modern system of sexuality partakes of

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III. SEX AND SIN

Most of Donne’s critics are embedded in a twentieth-century

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Perhaps consciously modeling his own persona after Augustine’s, in

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As our blood labours to beget

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That fantasy of equal love between a man and woman is intensely

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VI. MEN’S WORLDS: “PLEASURE AND BUSINESS”

In the poem “Good Friday, 1613. Riding Westward,” Donne’s

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